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Outline  of  Technique. 


j^  g-ttxid:e} 


IN     IHE 


leori  and  fractice  oi  | 


Piano-Forte    Playing, 
E.  T.  BALDWIM, 
Teacher  of  Music. 

S.OOiO  AND  PiANO-ROOMS, 

603  p^^rh  Rt.,  Manchester.  N.  H. 

By  G.  H.  HOWAPxD,  A.  M. 


T:ATTI.E   CliKEK,    JIKII. 
RKVIEW   ANI>    MF.RAI.n   STEAM    PRINT. 


li?'^'' 


Copyrighted,   1SS3,  by  G.   H.  Ho\vard. 


E.  T.  BALDWIN'S  ^'^ 

2-2.0 

ClaSxS  .  Library.      \fW 

I8S3 

No M'^  fi 


TO   BE    RETURNEO    IN    TiAZO    iA^EEKS. 


TO 

OF    BOSTON,    MASSACHUSETTS, 

®0  to|0se  inteluable  instructioiu  tmm\y  anb  timilt, 

I    OWE    SO    MUCH, 
THIS  WORK  IS  GRA  TEFULL  Y  DEDICA  TED. 


PREFACE. 


'T'HIS  little  work  is  not  wholly  new  in  its  purpose.  Plaidy 
^  and  others  have  treated  the  subject  of  Technique  with 
more  or  less  attention  to  formulation  of  principles  involved, 
but  such  formulation  has  too  frequently  been  incomplete  and 
illogical,  if  not  absolutely  false.  The  result  has  been,  in  a 
large  number  of  instances,  that  the  most  arduous  practice  has 
resulted  only  in  disappointment,  failure,  or  physical  injury  to 
the  hand.  It  may  be  well  believed  that  a  more  exact  pres- 
entation of  the  fundamental  principles  of  Technique  will  be 
invaluable  to  many  teachers  and  pianists.  The  teacher's 
labor  may  be  greatly  lightened,  and  the  range  and  result 
of  his  work  be  much  extended,  by  means  of  a  well-defined 
method.  The  future  artist  thereby  economizes  valuable 
time,  which  may  consequently  be  applied  to  the  higher  ends 
of  musical  art.  The  complete  virtuoso,  even,  never  disre- 
gards the  minutest  particular  which  may  add  to  the  precision 
of  his  skill  or  the  resource  of  his  power. 

This  work  is  prepared  merely  as  an  outline  of  the  subject. 
It  was  written  at  the  urgent  request  of  pupils,  but  in  the 
midst  of  other  and  very  pressing  duties,  and  in  consequence 


VI  PliKFAi'E. 

the  snhjcrt  could  not  rereive  full  jiuilice.  It  will,  neverthe- 
less, 1  trust,  be  fouiul  somewhat  more  comprehensive  than 
other  works  upon  this  subject  which  have  hitherto  api)eared. 
This  Outline  is  offered  to  tlie  public  in  the  hope  that  it 
may  advance  the  cultivation  of  true  pianism,  by  systeniizing 
and  therefore  economizing  the  labor  of  teacher  and  pianist. 
The  excellent  results  already  attained  by  a  few  who  have  had 
the  benefit  of  the  work  while  in  manuscript,  lead  me  to  hope 
that  it  may  meet  with  a  favorable  reception  from  all  un])reju- 
diced  minds  and  f^iithful  workers. 

("..    H.   H. 


•fl^^^'-s* 


PRELIMINARY     REMARKS. 


A  FREQUENT  cause  of  failure  in  developing  mechanical 
skill  in  playing  the  piano  may  be  found  in  the  almost 
universal  neglect  of  the  theory  of  Technique.  It  is  a  subject 
at  present  nearly  uninvestigated.  When  one  is  thoroughly 
acquainted  with  causes  and  means,  little  difficulty  need  be 
encountered  in  securing  true  effects  and  solid  results.  One 
may,  with  fair  application,  be  absolutely  certain  of  fine 
attainments  in  Technique ;  and  instead  of  ninety  per  cent  of 
failures  to  ten  per  cent  of  successes,  success  might  be  the  rule, 
and  failure  the  rare  exception ;  especially  if  musical  training 
were  always  to  embrace  the  necessary  concurrent  discipline 
and  culture  of  the  powers  of  the  soul,  the  intellect,  the  sensi- 
bilities, the  will,  the  nerves,  muscles,  tendons,  and  ligaments. 
At  present,  in  too  many  cases,  the  sensibilities,  the  nerves, 
and  muscles  only,  are  cultivated  or  brought  into  training;  and 
the  sensibilities  are  so  imperfectly  cultivated,  that  they  only 
stimulate  or  call  into  exercise  the  passions  instead  of  the  soul 
and  spirit.  The  nerves  and  muscles  are  so  inadequately 
trained,  that  they  act  with  a  mechanical,  forced  obedience, 
and  not  as  willing,  inspired  agents  of  the  all-commanding 
will. 

Intelligence  is  the  source  of  all  motion,  order,  and  con- 
trol; hence  any  adequate  comprehension  of  the  laws  of 
Technique  demands  a  never-failing  regard  for  the  offices  of 
the  mental  and  vital  forces  required  in  its  development. 
The  soul  and  mind  must  always  be  the  creator  and  executor 


viii  j'ju-:limixa  ii  y  he  ma  uks. 

in  musical  performance.  The  hands,  arms,  muscles,  nerveS) 
etc.,  are  only  the  tools,  or  instruments,  which  the  mind  em- 
ploys. The  soul  creates  at  least  a  conception,  whether  in 
extempore  or  interpretative  musical  art.  Without  the  soul 
and  intellect,  no  position  could  be  maintained,  no  motion 
directed  or  controlled.  The  will  might,  indeed,  act  inde- 
pendently, but  not  consciously,  and  therefore  not  effectively. 
This  is  the  condition  of  those  who  train  only  nerves,  muscles, 
passions,  or  sensibilities  in  musical  studies.  In  this  Outline, 
therefore,  the  offices  of  the  soul  and  mind  in  the  study  and 
practice  of  Technique  will  not  be  overlooked,  or  for  a  mo- 
ment lost  sight  of. 

THE  METHOD. 

In  studying,  practicing,  or  teaching  Technique,  it  is  un- 
safe, as  a  rule,  to  take  up  an  exercise  for  practice  first,  then 
to  deduce  the  principles  which  it  illustrates,  and  then  inves- 
tigate the  mental  processes  necessary.  The  true  method  is 
to  take  up  first  the  analysis  and  the  study  of  the  mental  and 
mechanical  processes  required,  then  to  proceed  to  the  deduc- 
tion of  the  principles,  to  the  application  of  the  analysis  or 
analyses,*  and  to  the  practice  of  the  exercise. 

This  process  may  be  reversed  in  exceptional  cases.  Some 
persons  of  an  ardent  nervous  temperament,  and  of  quick 
perceptive,  rather  than  strong  and  deep  reflective  faculties, 
will  accomplish  more  to  take  up  the  practice  first,  the  analysis 
and  theory  afterward.  With  such  temperaments,  the  teacher 
should  give  the  exercise  first,  then  conduct  the  analysis,  then 
obtain  the  statement  of  underlying  principles,  and  lastly  enter 
upon  the  investigation  of  the  mental  processes  required. 
Even  intellectually  cultivated  persons  are  often  strangely 
disinclined  to  these  studies,  but  they  are  7norc  7nially  i?nport- 
ant,  even,  for  them  than  any  other  class,  and  must  be  in- 
sisted on. 


'.xamples  of  AiKilysis  of  Mt-clianisni  arc  given  in  subsequent  pages. 


PHELfMIXA  It  y  JtKMA  lik'S.  IX 

A  pupil  who  has  been  trained  previously  in  dependence 
on  exclusively  mechanical  exercises,  and  who  is  unable  to 
classify  positions,  motions,  accents,  and  forces  away  from  the 
piano  and  from  the  music-page,  should  be  trained  for  weeks 
or  months  in  this  study,  apart  from  the  requisite  practice. 

THE  TRUE  IDEAL  OF  TECHNICAL  TRAINING. 

The  true  ideal  of  technical  training  is  that  of  intelligent 
efforts  and  careful  discipline  leading  to  sure  and  exact  results. 
Corrections  of  position,  motion,  or  touch,  are  to  a  very  great 
extent  unnecessary ;  and  when  necessary,  detract  seriously 
from  one's  success.  When  they  must  be  made,  they  should 
be  prepared  for  by  a  careful  restatement  of  the  principles  of 
position,  motion,  or  touch,  which  are  involved,  thus  prepar- 
ing for  a  better  comprehension,  and  a  true  instead  of  false 
action  of  the  will.  A  false  habit  must  not  be  allowed  to  lin- 
ger. Wrong  tendencies  may  be  destroyed  at  once  and  right 
tendencies  established  in  their  place.  The  habits  may  be, 
and  often  are,  revolutionized  in  an  hour's  effort  of  teacher 
and  pupil.  This  can  occur  when  the  heart,  mind,  and  soul 
are  all  enlisted.  The  power  of  good  is  infinite,  the  power  of 
evil  is  infinitesimal ;  therefore,  a  right  habit  in  its  actual  in- 
ception has  a  power  to  establish  itself  which  a  wrong  habit,  after 
YEARS  of  growth,  can  never  possess.  This  important  truth  is 
full  of  encouragement  to  those  who  have  unwittingly  fallen 
into  bad  habits.  Others  will  seek  good  and  avoid  errors,  for 
the  sake  of  good  and  the  experience  of  its  power.  Conscien- 
tiousness in  the  practice  and  study  for  the  development  of 
Technique,  are  the  strength  of  the  soul  in  its  experiences  of 
the  power  of  music. 


TECHNIQUE 


FOUR  DEPARTMENTS  OF  MECHANISM. 

A  TECHNIQUE  which  shall  be  perfectly  available  for  the 
demands  of  artistic  performance,  re(iuires  attention  to 
fonr  principal  departments:  — 

1.  Position.  3.   Motion. 

2.  Tension.  4.  Application  of  Force. 

1.    POSITION. 

I.  Position  is  the  relationship  of  one  part  to  another.  It 
may  relate  first  to  the  general  position  of  the  body,  embrac- 
ing also  the  height  of  seat,  and  distance  from  the  instrument. 
The  general  position  should  be  unconstrained,  but  never 
indolent  in  the  smallest  degree. 

The  player  should  seek  to  cultivate  passivity  in  the  nerves 
and  muscles,  remembering  that  they  are  the  servants  of  an 
intelligent  will.  They  must  be  in  readiness  for  an  instant 
obedience  to  its  mandates.  To  maintam  this  condition  of 
perfect  passivity  is  often  a  difficult  matter.  It  is,  indeed,  an 
impossibility  in  most  cases,  without  careful  attention  and  ex- 
cellent training.  It  depends  upon  a  sufficient  and  proper 
tension  and  relief  of  tension.  Any  crossing  of  the  feet  or 
placing  them  under  the  seat,  or  extending  them  fully,  should 
be  avoided.  Likewise  should  any  sinking  or  drooping  of  the 
chest  be  avoided.  The  other  extreme,  of  throwing  the  head 
and  shoulders  back  of  the  perpendicular,  is  equally  bad.  A 
gracefully  erect  position,  and  what  is  known  as  the  active 
chest  by  some  vocalists  (that  is,  a  position  admitting  of  a  full 
expansion   of  the   hnigs),  should    i)c   maintained.      Free  and 


12  orrrjxh:  of  TKciixn^rK. 

full  respiration  is  of  the  utmost  importance  for  any  good 
physical  action,  and  it  is  i7idispensable  for  the  brain,  if  it 
would  conceive,  create,  and  direct  with  its  native  energy. 
One  who  spends  a  third  of  his  life  at  the  piano,  as  so  many 
music  students  do,  must  cultivate  a  good  position,  or  suffer 
in  health  seriously,  and  despair  of  attaining  either  a  fine 
Technique  or  fine  interpretative  power.  With  strong  and 
free  pulses  feeding  the  active  brain,  one  may  maintain 
through  the  exercises  of  pianism,  a  splendid  state  of  health, 
provided  hygienic  conditions  be  not  wholly  disregarded. 
These  exercises  are  as  valuable  for  the  health  as  any  gymnas- 
tic exercises,  in  quickening  the  circulation,  equalizing  the 
nervous  forces,  developing  the  muscles,  and  stimulating  and 
strengthening  the  brain.  Ecstacy  is  the  only  word  capable 
of  describing  one's  condition  after  a  good  faithful  hour's 
practice. 

HEIGHT. 

The  height  of  the  seat  for  the  performer  should  be  such 
that  the  elbows  shall  be  from  one  to  three  inches  above  the 
level  of  the  key-board.  (This  height  must  be  conformed  to 
the  requirements  of  the  relationship  of  the  fingers,  hand,  and 
arm,  but  will  be  between  the  limits  above  specified.)  Small 
children,  or  very  small  adults,  may  find  that  this  arrangement 
prevents  them  from  reaching  the  floor  with  their  feet.  In 
such  cases,  the  feet  must  have  some  other  support,  and  when 
it  becomes  necessary  to  use  the  pedals  (which  should  rarely 
be  allowed  for  the  first  year  or  two  of  instruction),  tlie  ped- 
als must  be  extended  by  some  mechanical  contrivance. 

THK  SKAT. 

The  pupil  must  sit  fairly  upon  the  seat,  never  on  the  edge 
of  it  merely.  The  seat  should  be  of  a  construction  better 
than  any  now  in  use,  and  a  demand  for  such  a  one  should  be 
cre:ited.  It  should  be  broad  and  firm,  and  provided  witli  a 
back  high  enough  to  supi)ort  the  entire  spine  up  to  the  neck. 


OUTLINE  OF  TECHXiqUK.  lo 

The  seat  should  be  adjustable  to  any  height  which  may  be 

required.     The  construction  should,  nevertheless,  be  simple 

and  strong.* 

THE  DISTANCE. 

The  distance  of  the  performer  from  the  piano,  should 
conform  to  the  required  relationship  of  the  arm  and  body. 
The  arm  should  be  so  extended  that  the  elbow  shall  be  from 
two  to  four  inches  forward  of  the  perpendicular  line  of  the 
body.     Four  inches  would  be  an  extreme. 

Concerning  the  general  position,  the  height,  and  the  dis- 
tance, the  judgment  must  take  cognizance  of,  and  be  duly 
exercised  by,  the  sensations  experienced.  It  is  the  office  of 
the  sensor  nerves  (nerves  of  sensation)  to  inform  the  mind 
of  the  qualities  of  the  relationships  of  muscles  and  motor 
nerves.  It  thereby  becomes  conscious  of  the  power  of  the 
muscles  and  nerves  to  perform  their  offices  to  the  finest  par- 
ticular and  nicest  adjustment,  which  the  will  regulates  with 
most  delicate  precision. 

The  rules  above  given  for  position,  height,  and  distance, 
are  of  little  more  than  general  use,  unless  one  learns  early  to 
realize  relationships  and  conditions  of  motor  nerves  and 
muscles,  through  observation  of  the  sensor  nerves  and  the 
sensations  they  impart.  The  more  perfect  this  inner  con- 
sciousness can  become,  the  greater  the  certainty  and  freedom 
in  Technique. 

DISCIPLINE  IN  POSITION. 

The  pupil  should  be  trained  in  taking  a  correct  and  grace- 
ful position  before  passing  to  the  other  exercises.  The  posi- 
tion should  be  constantly  observed  and  criticised  in  the 
minutest  particulars  by  the  teacher.  He  should  strive  not 
only  to  secure  good  results,  but  also  to  lay  the  foundations 
for  future  good  habits,  by  inducing,   through  good  instruc- 

*  Since  the  above  was  written,  the  manufacture  of  a  Piano  Stool  answering  very 
nearly  to  the  above  requirements  has  been  begun  in  Bufifalo,  N.  Y. 


14  ovTLixi:  or  techxiqve. 

tion,  suggestion,  and  discipline,  a  power  of  reflection  and 
discrimination,  wliicli  of  themselves  are  the  most  prolific 
sources  of  good  results. 

POSITION  OF   HAM),   AM)  FORM   OF   FL\t,ERS. 

2.  Position  of  the  hand.  The  back  of  the  hand,  with 
the  third  section  of  the  finger  (that  nearest  the  hand),  should 
form  a  line  horizontal  with  the  forearm.  The  first  section  of 
each  finger  should  be  perpendicular  to  the  key,  the  second 
section  at  an  angle  of  twenty-two  degrees.  The  thumb 
should  be  extended  so  that  the  second  or  middle  section  shall 
be  parallel  to  the  frame  of  the  hand  ;  the  third  section  turn- 
ing outward,  at  an  angle  of  ten  degrees;  the  first  section 
turning  inward,  at  an  angle  of  ten  degrees. 

The  height  of  the  hand  should  be  proportionately  equal 
in  all  its  parts.  This  being  established,  the  thumb  will  be  at 
an  oblique  angle  with  the  surface  on  which  it  rests.  This 
relationship  is  an  important  one,  and  is  too  often  overlooked 
or  ignored.  By  a  proper  regard  for  it,  a  better  control  of 
the  thumb  may  be  obtained  than  is  possible  otherwise. 

HOW  TO  OVERCOME  A  FALSE  TENDENCY. 

Some  persons  have  a  tendency  to  turn  the  thumbs  out- 
ward when  the  fingers  are  properly  curved.  This  arises  from 
undue  contraction  of  muscles  controlling  the  thumb,  and 
may  be  overcome  by  attentive  and  careful  effort.  With  be- 
ginners or  with  advanced  pupils,  the  process  must  be  the 
same  in  overcoming  any  false  tendency.  Seek  to  avoid  it  in 
its  inception;  prevent  the  beginnings  of  error;  thus  it  is 
shorn  of  its  power.  Avoid  errors,  not  by  greater  but  by 
more  intelligent  efforts  of  the  will.  Intelligence,  compre- 
hension, and  consciousness  may  lead  one  directly  to  the 
results  desired,  and  good  habits  may  immediately  supplant 
those  which  are  bad. 


orTLTXE  or  TKcnXK/rE.  1-") 

■V\\0  WAYS  OV    TAKINc;    11  IK   I'OSITION. 

Two  ways  of  taking  the  position  may  be  employed. 

First  Method.  Hold  the  arm  in  a  horizontal  line,  and 
extend  the  hand  and  fingers  in  tlie  same  line.  Then  bend 
the  first  and  second  sections  of  tlie  fingers  to  the  angles  re- 
([iiired.*  Then  bend  the  thumb  to  the  required  angles. 
Lastly,  regulate  the  transverse  poise  of  the  hand  to  the  hori- 
zontal line,  and  the  sides  of  the  fingers  to  the  perpendicular. 
This  fs  the  most  useful  exercise,  and  should  be  practiced  daily 
from  one  to  eight  weeks.  The  control  is  often  secured  with 
difficulty,  and  many  persons  cannot  preserve  it  without  long 
practice. 

Second  Method.  The  second  method  is  often  useful, 
though  never  so  valuable  as  the  first.  Let  the  arm  and  hand 
be  extended  horizontally  upon  a  table-,  resting  passively  upon 
it.  Then  raise  arm  and  hand  slightly,  and  carry  them  one 
or  two  inches  from  the  bod\',  fo?'ward,  allowing  the  finger- 
tips still  to  rest  upon  the  table,  but  also  allowing  them  to  roll 
enough  to  admit  of  the  fingers  assuming  their  required 
angles.  Then  move  the  thumb  and  form  it  in  its  required 
angles,  allowing  it  still  to  rest  upon  the  table.  Lastly,  regu- 
late the  transverse  poise  of  the  hand,  and  the  sides  of  the 
fingers  to  the  perpendicular  with  the  surface  of  the  table. 

PRACTICE  OF  THE  POSITIONS. 

The  positions  should  be  practiced  first  with  the  two  hands 
in  alternation  ten  or  fifteen  times,  studying  with  minute  ex- 
actness the  adjustment  of  every  part,  and  seeking  to  obtain 
the  most  accurate  relationships.  A  difference  of  an  eighth 
of  an  inch  may  be  a  most  important  one,  and  may  cause  the 
difference  between  control  and  lack  of  control,  or  between 
ease  and  constraint. 

Those  who  do  not  neglect  the  study  of  position,  but  per- 

*See  page  14,  "  Form  of  Fingers." 


l(i  OUTLINE  OF  T EC  11 X Kill-:. 

severe  in  it  to  the  satisfaction  of  the  faithful  teacher,  may 
know  that  thereby  they  lay  a  foundation  for  a  Technique  not 
merely  excellent,  but  absolutely  perfect.  It  is  unfailing. 
Embarrassment  or  nervousness  cannot  rob  one  of  it.  The 
study  of  position  is  of  vital  importance.  It*  must  extend 
through  years  of  training.  Without  it,  no  success  is  attained 
that  is  thoroughly  worthy  of  the  name.  It  is,  therefore,  of 
the  utmost  importance  that  it  should  be  carefully  studied 
from  the  beginning.  Conscientiousness  in  practice  contrib- 
utes to  spiritual  power,  on  which  power  of  conception  de- 
pends. 

S.    TENSION. 

Definition. — Tension  is  force  of  will,  greater  or  less,  ap- 
plied to  any  cord,  tendon,  ligament,  muscle,  or  nerve,  for 
the  purpose  of  maintaining  a  position  or  causing  a  motion. 

An  increase  or  decrease  of  tension  is  required  by  changes 
of  positions  or  motions.  Exquisite  judgment  in  regulating  the 
tension  and  adapting  it  to  its  required  ends,  may  be  attained 
by  careful  study  and  observation.  The  sensor  nerves  assist 
one  greatly  in  this  study.  One  may  attain  such  certainty  of 
judgment  in  adapting  the  tension,  as  to  usually  anticipate  the 
exact  amount  demanded  at  every  change.  Yet  this  is  not 
always  possible,  for  many  modifying  circumstances  are  to  be 
taken  into  account,  so  numerous  are  the  conditions  by  which 
its  requirements  are  affected. 

EXERCISE  OF  TENSION. 

Elementary  exercise  in  tension  is  obtained  in  taking  and 
retaining  a  position,  especially  the  latter.  Holding  the  arm 
and  hand  in  position  give  good  exercise  in  tension. 

llRSr    SEIilES,    WITH    SIJGHTEST    TENSION    NECESSARY    TO 
MAINTAIN    POSITION. 

1.  Hold  right  hand  in  position  ten  seconds,  and  left 
hand  same.     Repeat  five  times. 


Ul'TlJXE  OF  TKCHXiqUE.  17 

2.  Right  hand  in  position  fifteen  seconds;  left  hand, 
the  same.     Repeat  five  times. 

3.  Right  hand  in  position  twenty-five  seconds;  left  hand, 
the  same.     Repeat  five  times. 

SECOND    SERIES,    WITH    STRONGER    TENSION. 

1.  The  position  may  be  retained  fifteen  seconds  with  a 
higher  degree  of  tension. 

2.  Twenty  seconds. 

3.  Forty  seconds. 

THIRD    SERIES,    WITH    STRONGEST   TENSION. 

1.  Position  retained  twenty-five  seconds. 

2.  Position  retained  forty  seconds. 

3.  Position  retained  one  minute. 

ITS  RELATION  TO  THE  SUBJECT  OF  POSITION. 

This  subject  is  so  intimately  related  to  that  of  position, 
that  it  will  be  constantly  referred  to  in  the  analysis  oi" 
position. 

A  change  of  tension  in  motor  nerves  and  muscles,  causes 
motion.  These  changes  of  tension  must  be  observed  and 
studied  in  all  complete  analysis  of  motion. 

The  study  of  tension  may  be  pursued  further  in  connec- 
tion with  the  study  of  motion. 

3.    MOTION. 

The  laws  of  motion  in  piano-forte-playing  have  been 
only  partially  generalized,  except  in  a  few  instances;  they 
have  not  been  completely  detailed  in  any  published  work. 
A  complete  classification  of  motions  required  in  playing  is 
as  indispensable  as  the  classification  of  words  in  the  study  of 
grammar. 

REQUISITES  OF  ALL  MOTION. 

Mental  Requisites.  All  motion  has  three  principal 
mental  requisites:  — 


18  .  OUTLINE  OF  TKiUXlilUK. 

I.   Correct  Apprehension.  2.  True  Judgment. 

3.  Precise  Direction. 
A  right  understanding  (/.  e.,  correct  apprehension)  of  a 
motion  is  plainly  enough  the  first  condition  of  accuracy. 
True  judgment  in  reference  to  the  amount  and  kind  of 
motion  used,  is  equally  important  as  it  insures  an  exact  ap- 
plication of  the  laws  of  Technique.  A  precise  direction  is 
dependent  upon  an  intelligent  action  of  the  will.  The 
teacher  should  seek  to  train  the  pupil  in  all  these  mental 
exercises. 

MECHANICAL  REQUISITES. 

The  mechanical  requisites  of  motion  are  the  following:  — 

1.  Capacity.  3.    Independence. 

2.  Precision.  4.    Facility. 
Capacity  exists  whenever  tlie  liand,  arm,  or  body  have  no 

defects  which  interfere  with  the  employment  of  the  i)arts 
"Vequired  in  playing. 

Precision  depends  on  readiness  of  disposition,  mental  ap- 
plication, and  on  discipline. 

Independe?ice  and  Facility  are  very  rarely  tlie  gifts  of 
nature,  except  in  a  small' degree,  and  depend  upon  careful 
training  and  persevering  practice. 

Independence  is  tlie  ])Ower  of  each  finger,  hand,  or  arm  to 
move  by  itself,  without  affecting  or  influencing  any  other  part, 
even  in  the  direction  of  a  similar  motion,  or  a  compensating 
pressure,  tension,  or  contraction.  Independence  may  also  be 
the  jKnver  of  each  member  to  act  in  opposite  movement  to 
some  other,  each  movement  being  perfectly  directed.  A 
similar  movement  is  in  some  circumstances,  more  difiicult, 
and  requires  greater  independence  than  a  contrary  move- 
ment. Independence  must  be  sought  for  in  perfection  of 
tpiality  and  am[)litu(le  of  (quantity. 

Facility  consists  in  ease  of  motion  and  instantaneous  obe- 
dience to  the  will.      It  is  dependent  on  flexibility  and  supple- 


OUTLIXK  OF  TKcnXiqUK.  11) 

ness,  gained  through  methodical  and  unremitting  practice. 
Facility  must  always  be  subordinated  to  accuracy  and  inde- 
pendence. Where  this  order  is  reversed,  carelessness,  confu- 
sion in  method,  and  even  faults  in  rendering,  quickly  follow. 

GENERAL  CLASSIFICATION  OF  MOTIONS. 

Motions  are  Primary  or  Principal,  and  Auxiliary.  Princi- 
pal, or  Primary  Motions  are  those  which  are  employed  in  the 
act  of   taking  or  leaving   keys.       All   others   are   Auxiliary 

Motions. 

FINGER  ACTION. 

First  in  order  comes  the  study  and  practice  of  the  motion 
of  the  fingers,  usually  called  Finger  Action.  This  has,  in 
technical  exercise,  three  elements.  The  Upward  Motion, 
the  Point  of  Repose  in  Space,  and  the  Downward  Motion. 

The  mechanical  requisites  of  finger  action  are  four  in 
number  (in  addition  to  the  requisites  of  all  motion  before 
specified).  They  are  Unity,  Directness,  Steadiness,  and  Im- 
pulsiveness. In  other  words,  the  finger  action  must  be  a 
motion  of  the  finger  in  which  all  parts  move  together,  and 
in  which  it  moves  directly,  steadily,  and  yet  with  an  impulse 
quick  and  exact  enough  to  produce  the  tone  desired. 

The  thumb  should  move  from  the  joint  where  it  is  con- 
nected with  the  hand,  usually  about  an  inch  from  the  wrist. 
Observe  that  the  structure  of  the  thumb  is  quite  similar  to 
that  of  the  fingers.  Many  imperfect  players  seem  never  to 
have  discovered  that  it  has  three  sections  as  the  fingers  have. 

The  fingers  should  move  from  the  joint  where  they  are 
connected  with  the  hand.  As  they  have  different  powers  and 
different  tendencies,  the  conditions  of  their  training  must  be 
different,  yet  with  uniform  results  in  view.  The  second  and 
fifth  fingers  have  opposite  tendencies  with  most  persons, 
therefore  the  technical  treatment  must  be  opposite,  if  uni- 
form results  are  reached.  The  second  finger  is  naturally  so 
free  in   its   movements  (from  connnon  uses),  that  when  un- 


20  OUTLINE  OF  TECHXIQUE. 

trained,  it  communicates  its  motion  to,  and  affects  the  whole 
hand;  while  the  fifth  finger  is  so  weak  and  stubborn  in  the 
hand-joint  (from  fieglect  in  common  uses),  that  it  can  scarcely 
produce  a  clear  tone  by  its  own  motion  alone.  Hence  the 
one  finger  requires  restraint  in  motion,  and  the  other  free- 
dom in  motion,  by  which  method  uniformity  and  equaliza- 
tion are  reached. 

Great  difificulty  is  generally  experienced  in  the  use  of  the 
fourth  finger,  and  the  nature  of  this  difficulty  is  unlike  that 
of  the  others.  This  needs  special  training  for  the  quality  of 
independence.  The  third  finger  needs,  usually,  less  repres- 
sion than  the  second,  as  regards  motion,  but  more  repression 
as  regards  force. 

THE  PRACTICE.— EXERCISE  OF  SINGLE  FINGERS. 

Let  the  fingers  be  exercised  in  their  motions  on  the  table, 
all  rules  of  position  being  first  observed.  A  correct  position 
being  assumed,  the  upward  movement  (the  first  element)  may 
be  given,  observing  the  four  requisites  of  motion,  each  one 
being  examined  in  successive  motions.  Or  again,  the  finger 
may  be  exercised  as  prescribed  five  or  ten  times,  for  the 
attainment  of  unity,  and  the  same  number  of  times  for 
directness,  steadiness,  and  impulsiveness. 

Then  follows  the  study  of  the  second  element  (which  is 
indispensable  for  the  individualization  of  the  motions),  the 
point  of  repose.  Here  observe  the  relationship  of  all  the 
parts,  that  correct  position  may  be  established.  The  repose 
should  occupy  for  this  purpose,  from  five  to  ten  seconds  the 
first  two  or  three  days  of  practice.  Then  practice  for  union 
of  the  four  requisites  of  motion,  together  or  separately,  in 
connection  with  the  object  of  attaining  correct  position  or 
relationshii)  at  tlie  point  of  repose. 

The  third  clement,  the  downward  motion,  may  tlien  be 
practiced,  first  by  itself,  for  the  attainment  of  accuracy  in  tlic 


OUTLTXE  OF  TFA'HNTqVE.  21 

four  requisites  (in  many  cases  practicing  for  them  separately), 
afterward  /;/  connection  with  the  other  two  elements. 

From  one  to  four  weeks  of  continuous,  daily  practice,  may 
often  be  given  with  profit  to  the  study  of  finger  motion. 
Some  persons  have,  with  decided  benefit,  practiced  these  ex- 
ercises for  months.  The  smallest  amount  of  practice  which 
would  be  productive,  would  be  thirty  movements  per  day 
with  each  finger.     Let  the  hands  alternate  frequently. 

EXERCISES  OF  TWO  OR  MORE  FINGERS  IN  CONNECTION. 

In  like  manner,  two  or  more  fingers  may  be  exercised  in 
connection  and  succession.  The  first  and  second,  second 
and  third,  third  and  fourth,  fourth  and  fifth;  then  the  first 
and  third,  second  and  fourth,  third  and  fifth;  then  first  and 
fourth,  second  and  fifth,  and  first  and  fifth  may  be  used. 
Let  it  be  understood  that  no  force  or  pressure  is  required  in 
all  this  practice;  they  should  at  first  be  avoided.  Study 
first  the  precision,  then  for  increase  of  motion  and  independ- 
ence, and  afterward,  if  these  have  been  well  established, 
effort  may  be  made  for  a  little  facility.  The  fourth  finger 
needs  especially  careful  training,  for  the  attainment  of  a  suf- 
ficient independence.  It  must  never  be  overworked  in  the 
smallest  degree.  It  must  not  be  forced,  but  gently  though 
effectually  exercised.  It  should  be  so  passive  that  it  will  be 
in  readiness  to  obey  the  slightest  promptings  of  the  will. 

APPLICATION  OF  FINGERS  TO  KEY-BOARD. 

The  application  of  fingers  to  the  key-board  is  the  next 
point  in  order.  This  should  be  made  in  such  a  manner  that 
all  previous  rules  of  position  shall  be  perfectly  observed.  It 
then  should  be  noticed  that  each  finger  has  a  specific  point* 
or  spot  upon  its  key  which  it  should  retain  when  in  repose. 


*  Usually  as  follows :  The  thumb  the  depth  of  the  nail  on  the  keys  ;  the  second  fin- 
ger a  quarter  of  an  inch  from  the  black  keys ;  the  third  finger  an  eighth  of  an  inch  from 
the  same;  the  fourth  a  third  of  an  inch,  and  the  fifth  same  as  thumb.  Each  finger 
midway  between  sides  of  keys. 


22  OVTLIXF.   OF  TFCJIXJijCF. 

and  from  wliirli  and  toward  wliicli  it  sliould  directly  tend 
wlicn  in  motion.  Deviations  sliould  hd  carefully  guarded 
against. 

EXERCISE  OF  SINGLE  FINGER  IN  PRODUCTION  OF  TONE. 
If  the  training  in  position,  motion,  and  tension  has  been 
well  conducted  to  this  point,  a  certain  kind  of  artistic  sense 
has  been  awakened.  This  may  now  at  once  be  kindled  into 
life  wliich  finds  its  highest  experience  in  artistic  production. 
Here  tlie  will,  intellect,  and  sensibilities  are  all  brought  into 
operation.  The  sense  of  perfection  or  beauty  of  tone  is  in 
the  soul.  The  power  to  create  motion  lies  in  the  will.  All 
judgment  concerning  these  processes  of  thought,  action,  and 
experience  is  in  the  intellect. 

4.    APPLICATION    OF    FORCE. 

In  addition  to  the  weight  of  the  finger,  the  muscles  and 
nerves  must  carry  or  propel  the  weight  of  the  key.  The  ap- 
plication of  force  here  required,  is  the  product  of  an  imper- 
ceptibly increased  tension  above  what  has  been  used  in  pre- 
vious exercises,  and  a  slight  increase  of  impulsiveness  in 
motion. 

TONE.— PRODUCTION  OR  FORMATION  OF  TONE. 

A  tone  in  its  outward  form  has  three  features:  a  point 
of  articulation  or  utterance,  a  period  of  duration,  and  a 
point  of  termination.  Each  of  these  elements  must  in  prac- 
tice be  made  distinct  and  separate, — this  is  the  beginning  of 
clearness  in  execution.  With  this,  all  passage-playing,  how- 
ever rapid,  may  be  perfectly  intelligible  and  pure. 

QUANTITY  AND  QUALITY  OF  TONE. 

Quantity  and  Quality  of  Tone  must  here  receive  due  at- 
tention, adapting  them  to  the  strength  of  the  finger  and  the 
requirements  of  its  training.  Fine  discrimination  on  the  part 
of  llic  teacher  is  here  required. 


oiTLiM-:  OF  ri-aiiXKjii:.  -•> 

DURATION   OK  TONK. 

From  three  to  ten  seconds  should  be  given  to  each  tone 
that  the  principles  of  performance  may  be  duly  realized  and 
fully  carried  out.  Absolute  prccisioti  must  be  attained.  All 
necessity  for  corrections  must  be  avoided. 

PRESSURE  OF  THE  KEY. 

The  key  must  of  course  be  held  with  a  nice  adjustment 
of  pressure,  neither  too  great  nor  too  little,  but  enough  for 
the  perfect  retention  of  the  tone. 

MECHANICAL  ELEMENTS  FOR  PRODUCTION  OF  TONE. 

It  will  thus  be  observed  that  as  the  formation  of  a  tone 
has  three  elements,  so  the  mechanical  means  of  its  produc- 
tion has  three  elements.  The  striking,  the  holding,  and  the 
releasing  of  the  key.  The  releasing  of  the  key  should  be 
effected  with  great  elasticity  of  motion,  yet  excess  in  this  par- 
ticular is  to  be  avoided.  Fifty  movements  per  day  at  least, 
should  be  prescribed,  unless  a  danger  of  overworking  the 
muscles  and  nerves  be  thereby  incurred.  Too  much  work 
is  as  bad  as  too  little.  The  nerves  and  muscles  should  be 
kept  in  a  condition  of  freshness. 

TWO-NOTE  EXERCISES. 

Practice  with  successive  fingers  in  the  employment  of 
two-note  exercises  may  be  undertaken  at  the  beginning  of  the 
second  or  third  week  of  instruction.  The  following  princi- 
ples should  be  presented,  and  the  analysis  of  the  mechanism 
should  be  made  before  the  practice  is  begun. 

THE  LEGAT(.)  TOUCH. 

At  this  point  careful  attention  to  the  connection  of  the 
tones  is  demanded  for  the  cultivation  of  what  is  termed  the 
legato  touch.  This  consists  in  retaining  each  tone  until  the 
next    is  produced.       This   necessitates   retaining   each    key 


'24r  oi'TLixi-:  or  TKciixK^rE. 

until  after  (an  instant  after)  the  next  is  taken.     This  allows 
time  for  the  operation  of  the  machinery  of  the  piano. 

CULTURE  OF  THE  EAR. 

The  ear  must  be  trained  to  the  consciousness  of  the  con- 
nection of  tone.  This  can  be  done  by  listening  to  the  vibra- 
tion which  follows  the  percussion,  and  observing  the  instant 
when  the  succeeding  tone  meets  the  ear;  at  that  instant  the 
preceding  tone  should  cease.  It  is  better  that  the  tones 
blend  a  little  rather  than  that  they  should  fail  to  meet,  and 
thus  fall  short  of  connection.  With  sufficient  prolongation 
of  the  tone,  and  with  attentive  listening,  the  legato  touch 
may  be  established  at  this  point  in  all  its  perfection. 

AVOIDANCE  OF  FALSE  RELATIONSHIPS. 

In  two-note  exercises,  care  must  be  taken  anew  that  the 
fingers  do  not  draw  up  the  hand  as  they  are  raised.  The 
point  of  repose  in  space  should  be  improved  to  examine  the 
relationship.  A  false  relationship  must  not,  however,  be  cor- 
rected; the  movement  producing  the  relationship  must  be 
given  anew  with  the  avoidance  of  the  disturbing  cause.  Each 
tone  should  occupy  from  one  to  ten  seconds.  Slow  practice 
is  the  true  and  sure  road  to  success. 

ANALYSIS    OF    THE    TWO-NOTE    EXERCISE,    C.    D.,    C.    D., 
ETC.,  WITH  REFERENCE  TO  MECHANISM. 

I.  Preparatory  upward  movement  of  first  finger  (thumb). 
2.  Point  of  repose.  3.  Downward  motion  and  production 
of  the  tone  C.  4.  Pressure  of  the  key  and  prolongation 
of  the  tone.  5.  Upward  motion  of  second  finger.  6.  Point 
of  repose.  7.  Downward  action  and  production  of  tone 
D.  8.  Pressure  of  key  and  prolongation  of  tone  D.  9.  Up- 
ward movement  for  the  release  of  first  finger  and  its  key, 
and  termination  of  the  tone  C.  10.  Point  of  repose  for 
first  finger.  11.  Downward  movement  of  first  finger  and 
production  of  tone  C.     12.    Pressure  of  key.      13.    Upward 


OllTLTXF  OF  TEnnXTQUE.  Zj 

movement  of  second  finger  for  termination  of  tone  D,  etc. 
This  exercise  should  have  from  twenty-five  to  seventy-five 
repetitions  daily. 

A  PLAN  FOR  A  COURSE  OF  LESSONS. 

Let  it  be  understood  that  although  Technique  is  occupy- 
ing our  entire  attention,  the  lessons  should  embrace  from  the 
earliest  moment,  other  departments.  A  scheme  somewhat  as 
follows,  will  be  found  practicable, — courses  of  study  always 
depending  on  capacity,  intellectual  attainments,  etc. 

FIRST    LESSON. — TECHNIQUE. 

Instruction  in  Position,  Height,  Distance,  etc.,  and  exer- 
cises in  Position,  Tension,  and  Motion. 

SECOND    LESSON. THE    SCALE,    NAMES    OF    KEYS,    OCTAVES, 

AND    NOTATION. 

Instruction  in  formation  of  Scale,  its  tones  and  intervals. 
Names  of  Keys,  names  of  Octaves,"^  Lines,  and  Spaces. 
Treble  Clef.     Names  of  Notes,  etc. 

THIRD    LESSON. TECHNIQUE. 

Exercise  of  single  and  two  fingers.  Continued  exercises 
in  Position  and  Tension.     Application  of  fingers  to  keys. 

FOURTH    LESSON. — READING. 

Representation  of  particular  keys  by  particular  notes. 
Exercises  in  reading  notes  orally. 

FIFTH    LESSON. TECHNIQUE. 

Exercises  for  three  fingers.  Continued  exercises  in  Posi- 
tion and  Motion. 

With  two  lessons  per  week,  a  scheme  on  the  basis  above 
suggested,  may  be  carried  out  for  some  years.  Some  pupils 
should  advance  even  more  slowly  than  the  above  scheme 
would  indicate,  as  it  is  never  to  be  admitted  that  they  shall 


*See  Diagram. 


2(j  iH'TLlXH  OF  TKdlXHll'K. 

pass    to  a  succeeding  exercise  before   the  preceding  is  duly 
])crfected. 

THREE,  FOUR,  AND  FIVE-NOTE  EXERCISES. 

For  six  months,  a  year,  or  two  years,  two,  three,  four, 
and  five-note  exercises  may  be  used  with  profit.  (See 
Plaidy's  Technical  Studies  for  examples  of  these  exercises.) 
The  three,  four,  and  five  note  exercises  require  greater  stead- 
iness of  the  hand,  and  a  correspondingly  greater  tension  is 
required  in  holding  the  hand.  This  need  not,  however,  de- 
generate into  undue  contraction  and  stiffness. 

These  exercises  should  be  carefully  analyzed,  that  the  pu- 
pil may  become  well  disciplined  in  analysis,  and  the  observ- 
ation of  every  mechanical  element. 

TRANSPOSITIONS. 

They  should  be  transposed  into  one  key  after  another; 
the  theory  of  transposition  being  presented  after  the  theory 
of  the  structure  of  the  scale  has  been  made  familiar.  (See 
page  29.)  The  application  and  location  of  the  fingers 
should  be  as  nearly  as  possible  the  same  in  all  keys;  but  the 
slight  differences  necessary  should  be  determined  and  speci- 
fied by  the  teacher.  The  key  of  G  is  mechanically  the  same 
as  the  key  of  C,  as  it  has  no  black  key  in  the  compass  of  the 
first  five  keys.  No  transposition  into  G  is  therefore  called 
for,  unless  desirable  for  the  sake  of  a  different  sound.  On 
this  principle  the  following  transpositions  are  all  whicli  are 
necessary  in  Major  keys:  — 

From  C  to  key  of  D. 

From  C  to  key  of  E,  to  key  of  B,  to  key  of  F*. 
From  C  to  key  of  C*f,  to  key  of  ?"b,  to  key  of  Bb. 
From  C  to  key  of  F. 

Transpositions  into  Minor  keys  should  be  made  on  the 
same  principle.      They  can  be  easily  selected. 


OUTLIXE  OF   TKCllXK^Ii:.  '!( 

Exercises  witli  accidentals  may  prove  very  useful,  if  a  com- 
])lele  analysis  of  tlie  elements  of  position  and  iiKHion  he 
made. 

The  analysis  of  such  an  exercise  as  this — 

should  specify  the  necessary  slight  change  in  the  curvatme, 
and  the  extension  of  the  fourth  finger  in  preparation  for  tak- 
ing the  key  F  sharp,  and  its  resumption  of  its  preceding 
form  in  preparation  for  the  following  F  natural. 

ACCENT. 

The  more  facility  gained  and  fluency  acquired,  the  more 
necessary  will  become  the  study  of  accent.  Accent  is  to 
playing  what  emphasis  is  to  speech.  Its  object  is  similar, 
and  the  method  of  its  development  similar. 

It  has  also  an  additional  use,  which  is  that  of  defining 
groups  and  measures,  thus  rendering  the  playing  intelligible, 
when  it  would  otherwise  be  obscure. 

The  accent  exercises  introduced  in  a  recent  method,  are 
indeed  valuable,  but  not  to  be  depended  upon  to  that  extent 
which  the  authors  seem  to  do,  for  the  general  development 
of  the  touch  or  comprehension  of  rhythmic  forms. 

But  they  are  useful  in  inducing  elasticity  of  touch,  and 
perfecting  the  equalization  of  the  fingers;  also,  for  aiding  the 
habit  of  concentration  and  strengthening  the  power  of  con- 
ception. With  these  objects  in  view,  five-note  exercises 
should  be  practiced  in  groups  of  five,  six,  seven,  eight,  and 
nine,  besides  the  more  common  groups  of  two,  three,  and 
four. 

THE  HIGHER  TEOINICAL  TRAINING  FROM  FIVE- 
NOTE  EXERCISES. 

Five-note  exercises  should  at  first  be  practiced  very  slowly, 
allowing  from  one  to  ten  seconds  for  each  note.     Afterwaid, 


28  OUT  LIKE  (tF  TECTTXTQI'E. 

as  precision  is  gained,  fluency  may  be  sought  for,  and  a 
gradual  increase  in  velocity  may  be  attempted.  Never  prac- 
tice faster,  however,  than  you  can  play  uninterruptedly  and 
with  ease  and  precision.  The  tempo  in  the  more  fluent  or 
rapid  movements  may  be  regulated  by  the  use  of  the  met- 
ronome, not  playing  with  the  metronome,  but  in  a  certain 
degree  of  quickness  as  indicated  by  the  metronome.  Thus 
if  the  greatest  practicable  fluency  through  one  week  be  f=  92, 
the  following  week  it  may  be  increased  to  104,  the  next  to 
112,  the  next  to  116,  and  so  on,  or  even  with  more  gradual 
progress. 

INCREASE  OF  POWER  IN  TOUCH. 

The  touch  at  first  should  be  ;;//  or  w,  but  as  strength  is 
gained  through  use,  the  greater  and  lesser  degrees  of  power 
should  be  studied.  In  the  latter,  the  touch  must  not  become 
inarticulate;  but  the  tones,  though  subdued,  must  be  pure  and 
perfect:  in  the  former  they  must  not  become  unmusical,  and 
the  tones,  though  loud,  may  still  remain  tones,  and  not  degen- 
erate into  noise. 

PRACTICE    FOR    ENDURANCE   AND    MUSCULAR    EXERCISE 

Should  be  introduced  at  this  stage  for  all  but  the  strongest 
hands-  For  this  purpose,  fifty  to  one  hundred  repetitions  of 
an  exercise  with  fortissimo  touch  may  be  useful. 

Exercises  with  holding  tones,  in  repeated  tones,  and  in 
moving  figures,  should  be  deferred,  at  least  until  after  the 
practice  of  the  Major  and  Minor  scales  has  been  carried 
through  the  first  stage.  In  most  cases  they  may  be  deferred  to 
a  point  still  later,  through  the  first  stage  of  simple  arpeggios. 
Exercises  with  holding  tones  are  useful,  not  for  securing  real 
independence,  but  for  increasing  it.  Independence  should  be 
secured  in  the  first  practice  of  finger  action.  Exercises  for 
fingers  covering  six  keys  as  in  Lebert  and  Stark's  Method, 
Sec.  27,  shoukl  be  used. 


OUTLINE  OF  TEOHXK^UE.  Z\) 

THEORY  AND  PRACTICE  OF  SCALES. 

The  theory  of  scale  forms  should  be  presented  and  fully 
elucidated  to  the  pupil  before  any  attempt  is  made  to 
examine  into  the  theory  of  scale  Technique.  It  should  be 
presented  in  the  same  manner  as  in  the  study  of  general 
Musical  Theory,*  in  which  every  piano  teacher  should  be 
well  versed,  and  which  every  student  of  the  piano  should 
pursue  in  connection  with  his  practice. 

A  two  years'  course  in  vocal  music  is  also  to  be  recom- 
mended. The  scale  should  be  memorized  so  thoroughly 
that  all  the  component  tones  of  each  scale  may  be  unhesitat- 
ingly repeated,  and  the  key  mentioned  from  the  signature, 
and  the  signature  from  the  key,  in  Minor  as  well  as  in  Major 
scales,  also  the  relationships  of  Major  to  Minor  scales,  and 
Minor  to  Major  scales. 

THEORY  OF  SCALE  FINGERINGS. 

The  theory  of  scale  forms,  /.  e.,  all  forms  of  scales  being 
fully  understood,  the  theory  of  scale  fingering  will  come 
next  into  review.  To  this  point  only  five  different  keys  have 
been  used,  one  finger  applying  to  each  key.  But  in  the  scale 
even  of  one  octave,  eight  keys  are  employed,  and  therefore 
the  simple  natural  succession  of  the  fingers  is  now  impossible. 
The  necessity  for  two  or  more  applications  is  therefore 
obvious.  The  eighth  key,  bearing  the  same  name  as  the  first, 
is  to  be  considered  as  the  same  key,  and,  though  it  be  used 
for  a  concluding  note,  it  is  to  be  regarded  also  as  the  begin- 
ning of  a  new  series,  /.  e.,  a  new  octave,  when  an  extended 
scale  is  required. 

Therefore  the  scale  consists  of  se^'cu  representative  keys. 
These  are  divided  into  two  groups :  the  first  comprising  three, 
the  second  group  four  keys,  or  vice  versa.  Let  it  be  under- 
stood once    for  all    that   this  grouping  exists  in    all  scales, 


*See  "  Primer  of  Modern   Musical    Tonality,"    by   J.    H.  Cornell,   published  by 
Schirmer,  New  York.    $i.oo. 


30  OUTIJXE  OF  TECHNIQUE. 

though  in  a  disguised  form  in  some.  The  ready  appreciation 
and  realization  of  this  grouping  enables  one  to  economize 
much  time  in  practice,  and  more  readily  to  attain  certainty 
and  facility  in  all  passage  playing,  because  then  the  finger 
locations  are  more  readily  and  perfectly  classified. 

To  the  first  group,  the  first  three  fingers  are  applied,  in  an 
ascending  scale  with  the  right  hand,  or  in  a  descending  scale 
with  the  left  hand.  To  the  second  group,  the  first  four  fin- 
gers are  applied  in  the  before  mentioned  right  hand  and  left 
hand  scales.  This  order  is  reversed  in  the  reverse  direction 
of  the  scales.  The  fifth  finger  is  used  only  for  concluding 
keys. 

Interruption  in  performing  the  scale  is  avoided  and  the 
tone-chain  made  perfect  by  means  of  auxiliary  motions,  yet 
to  be  specified. 

The  scale,  like  all  five-note  figures,  is  a  finger  exercise. 
The  fingers  take  every  key  and  produce  every  tone  exclus- 
ively by  their  own  motion.  The  use  of  auxiliary  motions 
also  renders  the  connections  of  tone  possible  between  the 
groups,  and  affords  convenience  in  passing  from  group  to 
group. 

AUXILIARY  MOTIONS. 

Tine  Auxiliary  Motions  arc  the  j)assing  of  the  thumb 
under  the  hand  and  transfer  (or  carrying)  of  hand  and  arm. 
Turning  the  hand  is  also  to  be  used  to  a  sniall  extent  as  an 
Auxiliary  Motion.  The  passing  of  the  thumb  is  subject  (in 
slow  syntiietical  practice)  to  two  conditions  :  i.  Regulation 
as  to  direction.      2.    Regulation  as  to  time  of  motion. 

Ki;(;u].ATioN  AS  TO  oirkc:tion. 

It  should  move  in  a  strictly  horizontal  line  from  a  nie<iinm 
jioint  of  clcvali(.)n  above  the  key.  This  point  of  elevation 
should  not  genernliy  be  less  than  an  eighth,  or  more  than  a 
(|uarter  of  an  inc  h  above  the  key  levels,  unless  unusual  short- 
ness or  length  of  the  fin!:;ers  should   lequiie  different  condi- 


OUTLINE  OF  TEi'HXiqUE.  -Si 

tions.  The  least  space  necessary  is  usually  to  be  taken  in 
order  to  avoid  raising  the  hand,  and  thus  throwing  it  out  of 
position.  The  joint  connecting  the  thumb  with  the  hand 
must  be  stretched  and  made  to  yield  so  as  to  obviate  as  far 
as  possible  the  necessity  of  turning  the  hand.  The  thumb 
should  be  so  carried  that  it  should  keep  its  prescribed  dis- 
tance on  the  key. 

REGULATION  AS  TO  TIME  OF  iMOTION. 

The  Regulation  as  to  Time  of  Motion  must  always  be 
made  with  a  regard  to  the  time  of  motion  of  the  fingers. 
While  the  second  finger  is  holding  its  key,  the  thumb  should 
pass  as  far  as  the  third  key  in  the  scale,  and  after  the  third 
finger  has  struck,  and  while  it  is  holding  its  key,  the  thumb 
should  pass  as  far  as  the  fourth  key,  thus  having  the  thumb 
always  the  distance  of  one  key  in  advance  of  the  finger  which 
is  in  use. 

COMPLETE  ANALYSIS  OF  MECHANISM  OF  THE  SCALE. 

The  Complete  Analysis  of  the  Mechanism  of  the  Scale  is 
as  follows  : — 

I.  Accuracy  of  position  being  secured,  the  upward  move- 
ment of  first  finger  (thumb).  2.  Point  of  repose.  3.  Action 
of  thumb  (for  taking  the  tone).  4.  Pressure  sufficient  for 
holding  key.  5.  Upward  movement  of  second  finger.  6. 
Point  of  repose.  7.  Action  of  second  finger.  8.  Pressure 
of  second  finger.  9.  Prompt  upward  movement  of  first  fin- 
ger (thumb),  (for  release  of  key)  to  medium  elevation.  10. 
(N.  B.)  Passing  of  thumb  distance  of  two  keys  to  middle  of 
third  key.  The  raising  and  passing  of  the  thumb  should 
be  distinct  motions  in  all  practice  of  the  first  week  or  month. 
Ti.  Upward  movement  of  third  finger.  12.  Point  (;f  repose. 
13.  Action  of  third  finger.  14.  Pressure  of  third  finger. 
15.  Prompt  upward  action  of  second  finger  for  release  of 
key.      16.    Passing  of  thumb  distance  of  one  key  to  middle 


32  OUTLINE  OF  TEt'HXiqUE. 

of  fourth.  17.  Point  of  repose.  18.  Slight  upward  move- 
ment (of  thumb).  19.  Action  of  thumb.  20.  Pressure 
with  thumb.  21.  Transfer  of  fingers,  hand,  and  arm  to  new 
location  on  fifth,  sixth,  seventh,  and  eighth  keys.  22.  Up- 
ward action  of  second  finger.  23.  Point  of  repose.  24. 
Action  of  second  finger,  etc. 

THE  TENSION. 

The  tension  of  the  large  muscles  of  the  arm  is  necessarily 
somewhat  greater  in  the  scale  than  in  Five-Note  Exercises. 
This  should  never  degenerate  into  local  contraction  or  stiffen- 
ing. It  is  necessary  in  order  to  preserve  steadiness  in  the 
poise  and  in  the  carrying  of  the  arm.  The  key  preceding 
the  act  of  transfer  should  also  be  held  a  little  more  firmly 
than  the  others,  in  order  that  the  connection  of  tone  may 
not  be  lost  at  that  point. 

PRESSURE  OF  KEY  AND  TENSION. 

The  Pressure  of  Key  and  Tension  should  here  be  very 
carefully  adjusted  so  that  they  shall  not  detract  in  the  least 
{as  they  need  not)  from  elasticity  in  the  touch.  Elasticity  is 
readiness  and  instantaneousness  in  changing  from  one  degree 
of  tension  to  another,  which  electricity  itself  hardly  surpasses. 
Slight  turning  of  the  hand  may  be  permitted  when  the  thumb 
cannot  otherwise  reach  its  key.  This  turning  must  be  studied 
as  a  separate  motion,  and  should  occur  immediately  after 
item  No.  10,  in  Complete  Analysis  of  Mechanism  of  the 
Scale.  It  is  to  be  regarded  as  an  expedient  for  facilitating 
other  movements,  and  should  be  employed  only  for  a  few 
weeks  or  months.  For  this  reason  it  is  not  included  in  the 
analysis  of  the  mechanism  of  the  scale.  After  thorough 
acquaintance  with  the  necessary  finger  locations,  and  after 
the  formation  of  correct  habits  in  retaining  them,  turning 
the  liand  may  l)c  discarded. 


OUTLINE  OF  TECHNIQUE.  33 

It  is  true  that  some  persons  never  become  able  to  dis- 
pense wholly  with  this  turning  of  the  hand.  But  the  neces- 
sity for  it  will  be  obviated  in  many  cases  by  gathering  the 
fingers  together  by  sidewise  movements  as  follows :  In  the 
first  section  of  the  scale,  after  the  third  finger  has  struck,  the 
second  finger  may  be  moved  sidewise,  fairly  touching  the 
third  and  as  close  to  it  as  possible.  It  will  then  be  per- 
ceived that  the  thumb  can  reach  under  the  hand  to  its 
required  key  with  much  greater  ease.  In  the  second  section 
of  the  scale,  after  the  third  finger  has  struck,  the  second  may 
be  moved  to  the  closest  proximity;  and  after  the  fourth  has 
struck,  the  third  and  second  may  be  moved  close  as  possible 
to  the  fourth. 

PASSING  THE  THUMB. 

Rigid  discipline  in  passing  the  thumb  depends  primarily 
on  exactness  of  control  and  motion,  but  also,  secondarily,  on 
suppleness  in  the  joint  where  the  thumb  is  connected  with 
the  hand  close  to  the  wrist.  Additional  suppleness  in  this 
joint  may  be  gained  by  firmly  bending  the  third  section  of 
>  the  thumb  (that  nearest  the  hand)  back  and  under  the  hand, 
repeating  this  exercise  from  ten  to  fifty  times  a  day  for  some 
weeks.  Much  care  is  tiecessary  in  order  to  avoid  straini?ig  the 
jnuscies  or  tendo?is  in  all  such  manipulation.  The  first  feeling 
of  over-exertion,  which  the  sensitive  nerves  always  impart, 
and  which  feeling  must  always  instantly  be  yielded  to,  should 
cause  one  to  refrain  from  further  exercise  until  the  muscles 
are  perfectly  rested. 

THE  LEGATO  TOUCH. 

All  scales  and  all  finger  passages  must  become  absolutely 
perfect  as  regards  connection  of  tones.  The  legato  touch 
depends  on  the  retaining  of  each  tone  until  producing  the 
next,  so  that  tone  shall  meet  tone,  and  yet  they  shall  not 
blend  one  with  the  other.     (Any  blending  produces  what  is 


34  OUTLINE  OF  TECHNIQUE. 

called  the  Legatissimo  touch.)  The  hearing  and  judgment 
must  combine  to  instruct  the  will  in  the  production  of  the 
legato  touch. 

The  practice  of  the  scales  should  be  conducted  as  follows  : 

THE  OUTLINE  OR  SCHEME  FOR  PRACTICE 
EXERCISE    I. — RIGHT  HAND. 

Practice  of  first  and  second  Elements  of  Mechanism  (fin- 
ger action  and  passing  of  thumb.)  First  series  of  keys 
ascending.     Fingers  used,  i,  2,  3,  pass  thumb. 

EXERCISE  2. LEFT  HAND. 

The  same,  descending. 

EXERCISE  3. — RIGHT  HAND. 

First,  second,  and  first  elements.  Finger  action,  passing  of 
thumb,  and  action  of  thumb  under  hand.  Fingers  used,  i, 
2,  3,  I.  First  series  of  keys  ascending,  and  one  of  second 
series.  (This  exercise  of  striking  with  thumb  under  the  hand 
should  often  receive  separate  attention.) 

EXERCISE  4. LEFT  HAND. 

The  same,  descending. 

EXERCISE  5. RIGHT  HAND. 

First,  second,  and  third  elements.  Finger  action,  passing 
of  thumb  and  transfer  of  fingers,  hand,  and  arm.  Fingers 
used,  I,  2,  3,  I,  and  transfer.  First  series  of  keys  and  one 
of  second  series. 

EXERCISE  6. — LEFT  HAND. 

The  same,  descending. 

EXERCISE   7. — RIGHT  HAND. 

Practice  of  transfer  alone,  the  thumb  holding  its  key  and 
the  hand  moving  over  it. 

EXERCISE  8. LEFT  HAND. 

The  same,  descending. 


OUTLINE  OF  TECHNIQUE.  35 

EXERCISE  9. RIGHT  HAND. 

First,  second,  third,  and  first  elements.  Fingers  used,  i, 
2,  3,  I,  2.  The  return  of  the  finger  action  after  the  transfer, 
which  is  the  object  of  the  exercise,  must  be  very  accurate. 
Especial  care  of  position  is  necessary  after  the  transfer. 

EXERCISE  10. LEFT  HAND. 

The  same,  descending. 

EXERCISE   II. RIGHT    HAND. 

Second  series  of  keys.  First  and  second  elements  of 
mechanism,     i,  2,  3,  4,  pass  thumb. 

EXERCISE   12. LEFT  HAND. 

The  same,  descending. 

EXERCISE   13. RIGHT  HAND. 

Second  series  of  keys,  and  one  of  first  series  in  the  next 
octave  above.  First,  second,  and  first  elements  of  mechanism. 
Fingers  used,  i,  2,  3,  4,  i. 

•EXERCISE   14. LEFT  HAND. 

,     The  same,  descending. 

EXERCISE   15. RIGHT   HAND. 

First,  second,  and  third  elements.  Fingers  used,  i,  2,  3, 
4,  I.  The  thumb  should  be  exercised  by  itself  under  the 
hand. 

EXERCISE   16. LEFT  HAND. 

The  same,  descending. 

EXERCISE   17,  —  RIGHT  HAND. 


Practice  of  transfer  alone,  thumb  holding  its  ke 


EXERCISE  18. — LEFT  HAND. 

The  same. 

EXERCISE   19. RIGHT  HAND. 

First,  second,  third,  and  first  elements.  Fingers  used,  i, 
2,  3,  4,  I,  2.  The  finger  action  after  the  transfer  must  be 
well  individualized. 


36                                 OUTLINE  OF  TECHNIQUE. 
EXERCISE   20. LEFT  HAND. 

The  same,  descending. 

EXERCISES    21-40. 

Should  comprise  the  reverse  movements  in  reverse  direc- 
tions of  the  scale  with  separate  hands  as  above. 

EXERCISE  41. RIGHT  HAND. 

Complete  scale,  one  octave  and  one  note. 

EXERCISE  42. LEFT  HAND. 

The  same. 

EXERCISE  43. — RIGHT   HAND. 

Complete  scale,  two  octaves  and  one  note. 

EXERCISE  44. LEFT  HAND. 

The  same. 

EXERCISE  45. RIGHT    HAND. 

The  same  in  reverse  direction ;  /.  e.,  ascending  instead  of 
descending. 

EXERCISE  46. LEFT  HAND. 

The  same  in  reverse  direction;  /.  c,  ascending  instead  of 
descending. 

EXERCISE  47. — RIGHT  HAND. 

Scale  in  four  octaves,  ascending  and  descending. 

EXERCISE  48. — LEFT  HAND. 

The  same. 

EXERCISES  49-54. 

Scale  (each  hand  separately)  /.  mf.  and  /.  The  for- 
tissimo touch  is  not  safe  for  most  pupils  at  all  before  the  sec- 
ond stage  of  practice. 

EXERCISES  55-62. 
Scale  (each  hand  separately)  in  different  degrees  of  flu- 
ency from  I*  =  60  to  1**=  104  (or  less),  allowing  two  notes  of 
the  scale  to  each  count  or  beat,  each  to  be  represented  by  an 
eiglith  note. 


OZTTLTXE  OF  TECHNIQUE.  37 

EXERCISE    63. 

Scale  with  two  hands. 

EXERCISE    64. 

Scale  with  two  hands  in  contrary  motion. 

EXERCISE    65. 
Scale  with  two  hands  in  sixths. 

EXERCISE    66. 
Same  as  65  in  tenths. 

EXERCISE    67. 
Same  as  6'^  in  thirds. 

It  is  not,  of  course,  necessary  that  the  preceding  plan  be 
carried  out  in  all  the  scales.  If  carried  out  in  the  scale  of  C 
Major  and  A  Minor  that  would  usually  prove  enough  to  es- 
tablish correct  habits.  More  practice  than  this  is  however, 
necessary  for  some  students.  The  scale  cannot  be  studied 
too  thoroughly.  All  Major  and  Minor  scales  should  be  prac- 
ficed  in  this  stage,  the  Minor  scales  in  the  Melodic  form  as  in 
Plaidy. 


CHORDS  AND  ARPEGGIOS. 

THEORY    AND    PRACTICE    OF    CHORDS. 

THEORY  OF  CHORDS. 
The  theory  of  the  structure   of  chords  should    be   pre- 
sented and  fully  elucidated,  as  in  the  study   of  harmony,* 
before  the  practice  of  chords  is  undertaken. 


*  See  Richter's  Manual  of  Harmony,  published  by  Schirmer,  N.  Y.  (Palmer's 
Theory  of  Music,  published  by  Ditson,  N.  Y.  and  Boston,  is  to  be  commended  for  its 
clearness  of  explanation,  but  is  not  as  good  an  authority  as  Richter.) 


38  OUTLINE  OF  TECHNIQUE. 

FINGERING  OF  CHORDS. 

To  this  point  the  fingers  have  occupied  only  adjacent  keys. 

In  playing  the  chord  C  E  G  with  the   right    hand    the   same 

finger  locations  may  be  employed  and  the  finger  application 

5 
then  is  3  .     This  fingering  is  usually  most  suitable  when  the 

I 

hand  is  not  obliged    to  change  its  location  quickly  or  fre- 
quently in  passing  to  or  from  the  chord.     In  other  cases  the 

4 
fingering  may  be   2,   thus  affording  a  more  open  position  of 
I 

3 

the  hand ;    and  i   may  also  be  used  where  the  connections 

2 
require  it,  but  less  frequently  than  the  others. 

POISE  OF  UNEMPLOYED  FINGERS. 

4 

In  case  2  is  used,  the  fifth  finger  should  be  poised  over 

I 

the  middle    of  the  key   A,  just  touching    the  key   without 

pressing    it    down,   when    the    finger   action    is  used.      The 

third  finger  is  poised  over  the  key  F  in  like  manner.     When 

3 

the  fingering  2  is  chosen,  the  fourth  and  fifth  fingers  should 

I 
be  poised  over  tlie  middle  of  the  keys  A  and  B.  Tlie  habit 
of  an  accurate  adjustment  of  unem])loyed  fingers  is  an  im- 
portant one,  and  cannot  be  too  earnestly  cultivated.  The 
finger  applications,  and  the  poise  of  unemployed  fingers  of 
the  left  liand,  sho'uld  correspond  with  those  of  the  right 
hand.  The  cliords  E  G  C  and  G  C  D  are  to  be  studied 
as  above. 

TWO  KINDS  OF  PRACTICE  NEEDED. 
As  these  chords  (C  E  G,  E  G  C,  and  G  C  E,)  are  played 
in  different  ways  they  demand  at  least  two  kinds  of  practice. 
They  may  bo  practiced  with  finger  action  and  hand  action. 


OUTLINE  OF  TECHNIQUE.  39 

REQUISITES  OF  FINGER  ACTION   IN  CHORD  PLAYING. 

Finger  action  in  chord  playing  demands  great  independ- 
ence. It  demands  also  greater  tension  than  simple  five  note 
figures  in  the  muscles  of  the  arm  by  which  the  hand  and  arm 

3 

are  supported  and  steadied.     In  the  fingering  2  ,  some  hands 

I 
will  need  especial  discipline  (perhaps  by  means  of  manipula- 
tion by  the  teacher  and  by  the  pupil  himself)  as  the  ligament 
binding  the  third  section  of  the  second  and  third  fingers 
does  not  always  possess  sufficient  suppleness  to  maintain  its 
power  of  extension  without  careful  stretching.  Manipulation 
is  a  useful,  but  not  the  only  means  of  securing  this  power  of 
extension,  for  many  hands  profit  equally  by  holding  the  keys 
for  several  seconds,  accurate  relationships  of  all  parts  being 
established.  This  shoukl  be  followed  by  a  complete  relaxa- 
tion of  the  muscles  and  nerves  when  the  hand  leaves  the  key- 
board. This  power  of  extension  is  an  essential  requisite  of 
finger  action  in  chord  playing. 

THE  PRACTICE. 

•  Finger  action  in  chord  playing  cannot  always  be  perfected 
at  this  stage,  and  little  more  than  an  illustration  of  it  should 
be  attempted  here.  A  week's  effective  practice  would  usually 
be  sufficient,  if  it  is  resumed  at  a  later  stage  in  the  course. 

THE  FINGER  ACTION  IN  PRACTICE. 

The  first  practice  should  be  undertaken  with  a  very  light 
and  delicate,  yet  unyielding  touch,  that  the  strength  of  the 
finger  alone  may  be  used.  After  two  or  three  days  of  this 
practice  with  reference  to  perfecting  the  power  of  extension 
by  the  process  above  suggested,  and  perfecting  the  finger 
action,  especial  attention  should  be  given  to  the  balance  or 
proportion  of  tone. 


40  OUTLINE  OF  TECHNIQUE. 

ARTISTIC  PRODUCTION  OF  THE  CHORD.— THE  TONE. 

The  highest  tone  in  a  chord  given  by  the  right  hand, 
supposing  it  to  be  a  tone  of  the  melody,  should  be  a  little 
stronger  than  the  others  in  almost  all  cases.  Great  care 
should  be  taken  not  to  fatigue  the  hand  in  this  practice.  To 
exhaust  it  is  frequently  to  ruin  it.  Strength  should  be  first 
gained  by  use,  later  by  exertion,  as  the  muscles  and  nerves 
gain  in  development  sufficiently  to  render  it  safe. 

ARTICULATION,  DURATION,  AND  TERMINATION. 

The  chord  should  have  a  definite  point  of  articulation,  a 
definite  period  of  duration,  and  a  definite  point  of  termina- 
tion. Exact  simultaneousness  in  the  production  of  all  the 
tones,  is  a  vital  condition  of  the  chord-effect.  The  sense  of 
perfectness  must  be  satisfied  in  all  the  above-mentioned  de- 
tails of  the  artistic  production. 

Let  the  teacher  prescribe  the  amount  of  time  or  the  num- 
ber of  repetitions  to  be  given  to  practice  to  each  of  the 
above-mentioned  elements,  as  he  should  do  in  all  technical 
exercises.  At  least  twenty-five  repetitions  per  day  ought  to 
be  prescribed. 

HAND  ACTION  IN  CHORD  PLAYING. 

The  action  of  the  hand  in  chord  playing  should  be 
studied  as  methodically  as  the  finger  action  in  scale  playing. 
This  has  in  its  fundamental^  technical  exercise  three  elemeiits, 
viz.;  the  Upward  Motion,  the  Point  of  Repose  in  Space, 
and  the  Downward  Motion.  An  accurate  position  or  rela- 
tionship of  the  various  parts,  should  be  preserved  at  every 
point. 

REQUISITES  OF  HAND  ACTION. 

The  mechanical  requisites  of  hand  action  are  four  in 
number:  Unity  or  Singleness,  Directness,  Steadiness,  and 
Impulsiveness.  In  other  words,  the  hand  should  move  with- 
out disturbing  the  arm  or  the  fingers,  the  fingers  being  held 


OUTLINE  OF  TECHNIQUE.  41 

with  a  tension  sufficient  to  insure  their  quietness.  The  hand 
should  move  directly  from  or  toward  the  precise  location, 
steadily,  and  yet  with  an  impulse  sufficiently  positive  to  pro- 
duce the  tone  desired. 

The  tension  of  the  nerves  and  muscles  controlling  the  fin- 
gers, should  be  somewhat  greater  here  than  in  previous  exer- 
cises, but  no  more  than  is  necessary  for  securing  independ- 
ence, unity,  and  steadiness  of  motion,  and  the  poise  of 
unemployed  fingers.  The  exact  adaptation  of  the  tension 
can  only  be  determined  by  judgment  and  experience.  (See 
''Tension,"  page  i6.) 

The  fingers  being  adjusted  to  the  keys,  in  accordance 
with  directions  on  page  21,  those  which  are  not  to  be  em- 
ployed in  striking  should  be  raised  and  kept  elevated  from  a 
quarter  to  half  an  inch  above  the  level  of  those  which  are  to 
strike,  thus  establishing  the  poise  necessary  to  prevent  them 
from  striking  with  the  others.  In  maintaining  the  poise, 
care  should  be  exercised  that  it  shall  not  occasion  false  ten- 
sion, or  an  undue  contraction  of  the  muscles. 

APPLICATION  OF  FORCE. 

The  force  employed  should  be  medium  at  first,  unless  the 
touch  proves  to  be  weak  and  nerveless.  Let  nerve  force, 
especially  (/.  e.,  of  the  motor  nerves),  and  not  muscular 
force  be  sought  for  as  a  rule  at  first,  and  after  three  days  of 
practice,  muscular  power,  little  by  little. 

In  developing  the  hand  action,  the  elements  may  be  re- 
duced to  two,  allowing  not  a  moment  of  interruption  or 
repose  between  the  upward  and  downward  motions,  thus 
affording  the  artistic  blending  of  the  motions  referred  to  in 
the  ''Practice  of  the  Scale,"  and  securing  perfect  elasticity. 
The  looseness  of  the  wrist  and  complete  passivity  of  the 
parts  near  it,  must  be  as  great  as  when  the  hand  drops  from 
the  arm  in  falling  asleep. 


42  OUTLINE  OF  TECHNIQUE. 

AUXILIARY  MOTIONS  IN  CHORD  PLAYING. 

Auxiliary  motions  are  necessary,  First,  In  passing  from 
one  chord  to  another  in  the  use  of  white  keys  only;  Second, 
In  passing  from  a  chord  containing  only  white  keys  to  one 
containing  one  or  more  black  keys,  or  passing  vice  versa. 

Auxiliary  motions  of  the  first  class  consist  in  a  sidewise 
motion  of  the  hand  and  arm  toward  the  right  or  left,  as  the 
case  may  require.  Those  of  the  second  class  consist  in  for- 
ward or  backward  motions,  toward  or  from  the  black  keys,  as 
the  case  may  require.  This  kind  usually  involves,  also,  some 
sidewise  motion.  Elasticity  of  the  motion  of  the  upper  arm 
as  well  as  the  fore-arm,  must,  in  both  cases,  be  carefully  cul- 
tivated. 

Practice  of  these  mere  motions  of  the  hand  and  arm  is 
desirable,  even  if  only  a  few  moments  be  given  to  it  daily. 
It  may  then  be  combined  with  hand  action  in  chord  playing, 
using  the  chords  E,  G,  C,  and  F,  A,  D,  in  alternation  (with 
both  fingerings)  for  illustration  of  the  first  class ;  and  G,  B, 
E,  and  A,  C,  F^,  for  illustration  of  the  second  class  (in  this 
case  also  using  both  fingerings). 

FIRST  CLASS.  SECOND  CLASS. 

5    5  i    i 

4^ 


!       I        I 


r— r— r— r~ 

The  backward  and  forward  motion  is  not  alwvys  neces- 
sary when  black  keys  are  met  with.  If  the  black  keys  occur 
frequently,  the  hand  should  be  kept  closer  in  the  range  of 
the  black  keys  than  usual  (/.  e.,  nearer  to  the  name-board), 
thus  obviating  all  necessity  for  frequent  backward  and  for- 
ward motion, 

ARPEGGIOS  OR  ARPEGGII. 

Definition. — An  arpeggio  is  a  series  of  tones  which  con- 
stitute a  chord  taken  successively  instead  of  simultaneously, 
and  extended  through  aiTy  desired  number  of  octaves. 


OUTLINE  OF  TECHNIQUE.  43 

THEORY  OF  FINGERING. 
The  fingering  of  arpeggios  is  derived  from  that  of  chords. 

The  arpeggio,  C,  E,  G,  C,  E,  G,  C,*  derives  its  fingering 
for  the  right  hand  from  the  third  fingering    of   the    chord 

[z^ 

C,  E,  G,  2  I  each  octave  of  the  arpeggio  being  a  repetition 
of  the  one  before  it.     Its  fingering  for  the  left  hand  is  de- 

rived  from  the  second  fingering  of  the  chord  E,  G,  C,      2  I 

UJ 
the  first  key  C  being  taken,  exceptionally,  with  the  fifth  fin- 
ger, and  each  octave  thereafter  -being  a  repetition  of  the  first. 
The  fingerings  which  are  usually  employed  are,  in  many 
cases,  very  defective,  as  they  do  not  easily  admit  of  perfect 
connections  of  tone.     For  example,  the  usual  fingering  for 

the  left  hand  in  the  arpeggio  D,  F*f,  A,  D,  Fff,  A,  D,  is  5,  4, 
.2,  I,  4,  2,  I,  but  it  should  be  5,  j,  2,  i,  3,  2,  i,  thus  afford- 
ing greater  ease  of  connection  in  passing  the  fingers  over  in 
ascendingjor  the  thumb  under  in  descending.  For  all  fingerings 
of  the  common  chord  arpeggios,  see  arpeggios  with  finger- 
ings prepared  in  accordance  with  the  principles  above  sug- 
gested, and  which  accompany  this  Outline. 

Arpeggio  passages  requiring  the  greatest  velocity,  should 
be  fingered  with  the  use  of  the  fourth  finger  (in  the  above- 
mentioned  forms  and  those  corresponding),  instead  of  the 
third,  as  that  affords  a  more  natural  relationship,  and  conse- 
quently greater  facility  of  motion.  This  should  be  employed 
only  where  the  pure  legato  effect  may  with  propriety  be  sac- 
rificed to  the  velocity. 

The  principles  of  mechanical  action  and  the  elements 
of  mechanism,  are,  with  a  few  exceptions,  the  same  in  arpeg- 
gio as  in  scale  playing.     (See  "  Elements   and  Analysis  of 


*  C  indicates  "  middle  C  ";  C  indicates  the  octave  above  "  middle  C";    C  two  oc- 
taves above  "  middle  C." 


44  OUTLINE  OF  TECHNiqUE. 

Mechanism  of  the  Scale,"  page  31,  and  apply  tlie  same  in 
all  practicable  details  of  arpeggio  })ractice  in  slow  move- 
ment.) 

EXCEPTIONS. 

The  first  exception  relates  to  the  fingering,  and  is  men- 
tioned above.  The  scale  has  an  established  fingering;  the 
arpeggio  fingering  may  frequently  change  on  the  above-men- 
tioned principles. 

The  connection  of  tone  in  a  legato  scale,  must  always  be 
effected  by  an  accurate  and  sufficient  retention  of  each  tone 
with  the  finger;  in  the  arpeggio,  on  the  other  hand,  the  con- 
nection may  sometimes,  though  not  at  all  frequently,  be 
effected  by  the  use  of  the  pedal.  The  use  of  the  pedal  is 
subject  to  the  laws  of  tone  and  expression.  This  topic  will 
be  treated  in  a  work  which  is  in  preparation  embracing  tone, 
expression,  phrasing,  and  general  interpretation. 

The  third  exception  to  be  named,  is  the  omission  of  the 
second  element  of  mechanism  (the  passing  of  the  thumb), 
which  occurs  when  the  greatest  velocity  and  facility  are 
needed.  With  some  hands,  all  these  exceptions  must  occur 
more  frequently  than  is  above  suggested,  but  usually  at  a 
considerable  disadvantage  to  the  artistic  result. 

THE  APPLICATION  OF  THE  SECOND   ELEMENT  OF  MECH- 
ANISM IN  ARPEGGIO  PRACTICE. 

The  finger  action  is  subject  to  the  same  conditions  as  in 
scale  a  playing,  but  a  somewhat  greater  tension  in  the  muscles  of 
the  arm  is  required,  to  insure  perfect  quietness  of  the  hand. 
Therefore,  we  may  pass  at  once  to  the  second  element  of 
mechanism,  the  passing  of  the  thumb. 

REGULATION  AS  TO  DIRECTION  OF  MOTION. 
The  regulation  as  to  direction  of  motion,  is  precisely  the 
same  as  in  the  scale.     The  regulation  as  to  time  of  motion, 
is  made  on  the  same pj'inciple  as  in  the  scale,  but  the  princi- 
ple has  a  different  application.     Immediately  after  the  second 


OUTLINE  OF  TECHNIQUE.  45 

finger  has  taken  its  key,  the  thumb  should  be  carried  under 
the  hand  for  its  first  stage  of  motion  to  that  key  which  forms 
the  interval  of  the  fifth  with  the  first  one.  For  example,  in 
the  right  hand  part  of  the  first  form  of  the  common  chord 
arpeggio  of  C,  the  thumb  in  its  first  stage  of  motion  passes 
from  the  key  C  to  the  key  G.  For  its  second  stage  of  mo- 
tion it  should  pass  immediately  after  the  third  finger  has 
taken  its  key,  to  the  octave,  that  is,  the  key  C. 

FIRST  AUXILIARY  MOTION. 

Some  turning  of  the  hand  to  a  line  oblique  to  the  keys  is 
usually  necessary.  This  should  be  effected  between  the  first 
and  second  stages  of  passing  the  thumb.  As  little  turning 
of  the  hand  as  possible  should  be  employed,  for  the  reason 
that  in  fluent  or  somewhat  rapid  movements,  the  motions  be- 
come too  complicated  to  be  well  conducted.  The  necessity 
for  it  is  greatly  reduced  by  discipline  in  reaching  under  the 
hand  with  the  thumb,  in  such  a  manner  that  the  hand-joint 
and  surrounding  muscles  are  made  to  increase  their  capacity 
of  extension,  and  to  yield  with  suppleness  to  the  stretching 
of  the  thumb.  Some  manipulation  is  also  beneficial.  Each 
finger  after  it  leaves  its  key,  may  be  carried  by  impulsive  lat- 
eral motion  to  the  closest  position  to  the  next  finger,  thus 
rendering  the  passing  of  the  thumb  much  easier  for  many 
persons. 

EXEMPLIFICATION  OF  FINGER  ACTION. 
FIRST    PAIR    OF    EXERCISES. 

The  practice  of  the  arpeggio  should  begin  with  an  exer- 
cise    ^'  ^'  ^'  ^'  ^'  ^'  ^'  ■^'     for    the   exemplification  of 
L12321232J 

the  first  element,  the  finger  action. 

All  tension  which  will  prove  necessary  in  the  arpeggio 
itself,  should  here  be  employed.  The  application  of  force 
may  be  very  slight.     The  tone  should  be  pure  and  musical. 


46  OUTLINE  OF  TECHNIQUE. 

and  the  sense  of  excellence  in  tone  must  be  well  satisfied  as 
in  all  arpeggios  and  all  other  practice.     With  left  hand  the 

\sr,   rL/,    (_/,    Ev,   Cr,    rL<,    C,    E. 

exercise  is      ''''''     ' 

12321232 

This  exercise  may  be  practiced  after  the  twentieth  or  fif- 
tieth repetition  with  some  fluency.  Corresponding  exercises 
may  introduce  other  forms  of  arpeggios. 

SECOND    PAIR    OF    EXERCISES. 


C,  E,  G,  E,  C,  E,  G,  E. 
12321232 


G,  E,  C,  Ej  G,  E,  C,  E. 
I     2321     23     2 


RIGHT    HAND.  LEFT    HAND. 

This  is  to  be  accompanied  by  the  passing  of  the  thumb, 
first  and  second  stages  of  motion,  and  turning  of  the  hand, 
the  latter  between  the  first  and  second  stages  of  motion  of 
the  thumb.  Only  one  motion  at  a  ti?ne  should  be  used  in  the 
first  practice  of  all  exercises.  The  thumb  must  be  carried 
fully  to  the  octave  in  the  second  stage.  This  exercise  must 
be  practiced  very  slowly,  giving  from  two  to  four  seconds  to 
each  tone. 

THIRD    PAIR    OF    EXERCISES. 

Right  hand,  ^'  ^^  ^'  ^-     Left  hand,  ^'  ^'  ^^  ^-     The 

position  should  be  taken  with  the  tluimb  and  third  finger, 
both  over  the  key  G  (right  hand),  or  C  (^left  hand),  the  un- 
employed fingers  at  the  same  time  taking  their  proper  loca- 
tions,* and  the  correct  form  of  the  hand  being  assumed  and 
maintained.     Then  follows — 

1.  Striking  the  key  (third  finger).  The  third  finger  should 
hold  the  key  firmly,  that  the  following  action  of  the  thumb 
may  not  detract  from  the  connection  of  the  tones. 

2.  Turning  the  hand. 


*  Without   this  atteiuion  to  unemployed  fingers  they  usually  assume   some    false 
tension. 


G, 

c, 

E,  C,  G,  C, 

E, 

c. 

3 

I 

2        I       3       I 

RIGHT    HAND. 

2 

I 

OUTLINE  OF  TECHNIQUE.  47 

I 

3.  Passing  the  thumb. 

4.  Striking  with  thumb. 

5.  Striking  third  finger. 

6.  Return  of  thumb. 

7.  Turning  hand  back. 

It  will  be  observed  that  a  complete  analysis  of  the  mech- 
anism is  not  here  undertaken_,  the  pressure,  the  release  of  the 
key,  points  of  repose,  etc.,  not  being  specified.  The  teacher 
should  draft  one  for  reference  and  for  his  own  guidance,  as 
also  the  complete  analysis  of  mechanism  of  the  entire  arpeg- 
gio. All  such  analyses  are  of  value  to  the  teacher  as  well  as 
to  the  pupil. 

FOURTH    PAIR   OF    EXERCISES. 

C,  G,  E,  G,  C,  G,  E,  G. 

3    I     2     I     3    I     2     I 

LEFT    HAND. 

In  addition  to  the  mechanical  elements  of  the  preceding 
exercises,  we  have  here  the  transfer  of  fingers,  hand  and  arm. 
This  should  be  so  effected  as  to  open  the  hand  fully,  and  to 
admit  the  precise  application  of  the  second  and  third  fingers 
to  the  keys  E  and  G  (right  hand),  and  E  and  C  (left  hand). 
The  motions  should  be  well  individualized,  /.  e.,  only  one 
motion  at  a  time  should  be  attempted. 

FIFTH    PAIR    OF    EXERCISES. 

Right  hand,  complete  arpeggio,  ascending.  Left  hand, 
complete  arpeggio,  descending.  From  two  to  five  seconds 
should  be  allowed  for  each  tone. 

SIXTH    PAIR    OF    EXERCISES. 

Right  hand,  complete  arpeggio,  descending.  Left  hand, 
complete  arpeggio,  ascending. 

SEVENTH    PAIR   OF    EXERCISES. 

Right  hand,  throughout,  ascending  and  descending.  Left 
hand,  the  same.     (Group  in  couplets  and  quartolets.) 


48  OUTLINE  OF  TECHNiqUE. 

EIGHTH    PAIR   OF    EXERCISES. 

Right  hand  and  left  hand  together.  The  same  together, 
contrary  motion. 

NINTH    PAIR    OF    EXERCISES. 

Right  hand  fifteen  times  piano,  and  fifteen  times  forte. 
Left  hand,  the  same. 

TENTH    PAIR    OF    EXERCISES. 

Right  hand,  triplets.     Left  hand,  triplets. 

It  will  be  observed  that  to  this  point  the  arpeggio  has 
been  played  without  accent,  other  than  that  of  couplets  and 
quartolets.  Other  forms  may  here  be  introduced,  but  perfect 
connection  of  tone  must  be  preserved,  not  allowing  the  ear 
to  be  deceived  in  the  smallest  degree.  Perfect  evenness  of 
succession  is  indispensable. 

ELEVENTH    PAIR   OF    EXERCISES. 

Right  hand,  groups  of  five.     Left  hand,  groups  of  five. 
Other  groups  may  be  practiced  in  the  reviews,  as  groups 
six,  seven,  eight,  and  nine  notes. 

THE  SEXTOLETS. 

The  Sextolet  is  sometimes  employed  as  a  triple  couplet, 
and  sometimes  as  a  double  triplet.  These  subdivisions 
should  not  be  usually  suggested,  however,  by  any  accent, 
even  though  a  weak  accent.  They  are  often  evident  by  the 
connection  in  which  these  groups  occur,  or  by  some  accom- 
panying part. 

Moderate  velocity  only  should  be  sought  for  at  this  stage. 
Arpeggios  should  be  reviewed  for  the  attainment  of  greater 
velocity,  power,  etc.,  after  the  practice  of — 

1.  The  moving  figures  of  Plaidy's  Technical  Studies,  and 
all  necessary  transpositions  of  the  same. 

2.  The  first  review  of  the  scales. 

3.  The    First    Book    (or    half  of  it)    of  Tausig's    Daily 


OUTLINE  OF  TECHNIQUE.  49 

Studies  (published  by  Schirmer,  price  $2).     It  is  a  very  use- 
ful set  of  exercises. 

4.    The  chromatic  scale. 

MOVING  FIGURES. 

These  exercises  embrace  the  same  elements  as  the  scale, 
but  usually  exemplified  in  less  extended  motions. 

1.  Finger  action. 

2.  Passing  of  thumb, 

3.  Transfer  of  fingers,  hand,  and  arm. 

In  many  figures  the  transfer  required  is  only  for  the  dis- 
tance of  an  inch — the  distance  from  key  to  key.  In  such 
figures  a  just  appreciation  and  perception  of  the  necessary 
distance  of  motion  must  be  insured. 

TRANSPOSITIONS. 

It  is  desirable  to  transpose  some  of  these  figures  into 
other  keys  than  C.  In  practicing  in  other  keys,  great  pre- 
cision should  be  exercised  in  adapting  and  adjusting  the  fin- 
gers to  their  successive  locations.  In  each  location,  at  least 
two  fingers  should  be  adjusted  to  their  keys  before  proceed- 
ing to  carry  out  the  figure.  Analyses  of  locations  and 
changes  are  to  be  made  in  preparing  for  the  practice  by  study. 

From  one  to  four  months  will  be  required  for  the  practice 
of  the  moving  figures  here  mentioned. 

FIRST  REVIEW  OF  THE  SCALES. 
This  review  constitutes  the  second  stage  of  practice,  and 
should  be  conducted  on  the  same  general  principles  as  the 
practice  of  the  first  stage.  Each  day's  practice  should  begin 
by  allowing  one  second  at  least  to  each  tone.  The  rapidity 
may  be  gradually  increased  through  the  hour  devoted  to 
them.  After  a  few  days,  a  higher  degree  of  velocity  may  be 
attempted.  As  successive  scales  are  taken,  the  velocity  may 
be  still  further  increased.     Due  care  should  be   exercised. 


50  OUTLINE  OF  TECHNIQUE. 

however,  that  these  efforts  for  velocity  never  carry  one  be- 
yond the  point  where  a  sufficient  individualization  of  the 
motions  is  preserved. 

In  this  stage  of  the  practice  the  harmonic  form  of  the 
minor  scales  may  be  practiced.  In  this  form  due  care  must 
be  exercised  that  the  sixth  and  seventh  keys  in  each  octave 
are  properly  prepared  for,  by  means  of  an  accurate  transfer 
and  adjustment  of  the  fingers.  In  rapid  movements,  this 
preparation  should  be  very  promptly  made. 

As  rapidity  is  attempted,  the  amount  of  finger  motion 
must  usually  be  reduced. 

Fiom  two  to  four  months  should  generally  be  allowed  for 
this  review.  Mere  fafniliarity  with  the  scale  requires  little 
time,  but  the  attainment  of  skill  in  playing,  must,  of  neces- 
sity, consume  much  time,  which  yields,  however,  a  splendid 
return. 

TAUSIG'S  DAILY  STUDIES.     (MOVING  FIGURES.) 

In  these  exercises  the  thumb  comes  upon  black  keys  so 
often  that  many  awkward  and  unnecessary  movements  result, 
unless  the  practice  is  rightly  conducted.  They  may  be 
avoided  by  keeping  the  thumb  always  in  range  of  the  black 
keys,  and  the  fingers  in  their  exact  form  and  relationships. 

The  first  exercises  require  a  very  close  setting  of  the  fin- 
gers, as  the  chromatic  figures  of  which  they  are  composed 
require  that  the  fingers  shall  be  very  near  together.  The 
necessary  directness  of  the  finger  action  should  here  be  care- 
fully observed. 

Other  elements  of  mechanism  are  as  in  simple  moving  fig- 
ures and  in  the  scales. 

THE  CHROMATIC  SCALE. 
The  chromatic  scale  may  here  be  introduced.     It  should 
be  noticed  that  partial  transfers  only  are  made  as  in  moving 
figures,  and  not  complete  transfers,  as  in  the  scale.     Two  fin- 
gerings only  need  be  used. 


OUTLINE  OF  TECHNIQUE.  51 

FIRST  REVIEW  OF  ARPEGGIOS. 
^  This  should  be  conducted  on  the  same  general  principles 
as  the  first  review  of  the  scales. 

REPEATED  NOTES. 

It  is  necessary  to  devote  very  little  time  to  this  class  of 
exercises,  say  from  two  to  three  weeks.  They  may  be  intro- 
duced earlier  than  at  this  point,  if  found  convenient,  but 
never  until  after  the  first  practice  of  the  scales. 

•     HOLDING-NOI^E  EXERCISES. 

Five-note  exercises  with  holding  notes  may  be  introduced 
here,  or  in  connection  with  the  first  review  of  the  scales. 
They  should  always  be  practiced  concurrently  with  arpeggios. 
For  comment  on  their  use,  see  page  28. 

Usually  but  little  time  should  be  devoted  to  them.  Fif- 
teen minutes  daily,  from  two  to  four  weeks,  is  sufficient. 

ARPEGGIO  MOVING  FIGURES. 
Moving  figures  derived  from  arpeggios  may  next  be  intro- 
duced. The  principles  of  their  miechanism  are  the  same  as 
in  moving  figures  and  Tausig's  Daily  Studies.  They  require 
no  especial  attention  in  this  Outline.  The  connections  of 
tone  are  sometimes  effected  with  difficulty,  and  are  frequent- 
ly deceptive  to  a  careless  ear.  The  principles  of  their  finger- 
ings are  based  mainly  on  those  of  the  arpeggios.  They  must 
be  investigated  and  specified  in  a  corresponding  manner  by 
the  teacher. 

DOMINANT  SEVENTH  ARPEGGIOS. 

These  are  treated  in  a  manner  similar  to  the  arpeggios  of 
the  common  chord.  They  afford  most  excellent  discipline  in 
finger  action.  They  require  a  strong  tension  without  any 
false  contraction  of  nerves  and  muscles  of  the  arm,  and  a 
very  supple  hand,  without  loss  of  precision  in  the  relation- 
ships of  the  various  parts  of  the  hand.     The  teacher  should 


52  OUTLINE  OF  TECHNIQUE. 

write  out  the  analysis  of  the  mechanism,  and  construct  for- 
mulas for  the  practice  of  these  exercises  on  the  preceding 
models.  They  are  to  be  fingered  on  the  principles  exempli- 
fied in  common  chord  arpeggios.  They  should  be  practiced 
in  all  keys. 

OCTAVES. 
These  may  be  practiced  after  dominant  seventh  arpeg- 
gios, and  usually  in  the  third  year.  What  has  been  said  con- 
cerning chords  will  generally  apply  to  octaves.  But  it  should 
be  observed  that  the  subject  of  chord  playing  was  developed 
in  the  preceding  pages  only  as  that  particular  part  of  the  subject 
required.  The  playing  of  octaves,  and  chords  with  the  oc- 
taves, requires  in  the  various  circumstances  three  kinds  of 
movements:  — 

1.  Action  of  the  fingers  for  legato  playing. 

2.  Action  of  hand,  in  detached  tones,  with  the  lesser  de- 
grees of  force. 

3.  Action  of  forearm,  in  detached  tones,  in  greater  de- 
grees of  force  and  in  distant  movements. 

Movements  of  the  whole  arm  are  often  required  in  bra- 
vura playing,  and  in  all  cases  where  sudden  chaiiges  to  distant 
keys  occur.  Immediately  after  the  attack  of  the  tones,  the 
muscles  should  be  relaxed  to  the  lowest  degree  of  tension 
consistent  with  the  retention  of  the  tone.  When  the  hand 
and  wrist  have  attained  suppleness,  the  tension  may  be  in- 
creased instead  of  reduced,  while  holding  the  key. 

Considerable  effort  is  needed  to  maintain  the  necessary 
extension,  unless  the  hand  is  quite  large  or  extremely  elastic. 
The  muscles  must  be  firmly  controlled  for  this  purpose. 

''  Kullak's  Octave  School,"  is  quite  a  satisfactory  guide, 
both  theoretical  and  practical,  in  the  practice  of  full  chords 
and  octaves.  Part  II  is  published  by  Schirmer,  of  New 
York,  at  $2.50.  Part  III  is  not  needed  by  some  students,  as 
it  consists  of  selections  of  works  in  very  general  use. 


OTJTLTNE  OF  TFC FTNTQ UR'.  53 

DOUBLE  NOTE  EXERCISES  AND  SCALES. 
"  Double  notes  "  require  in  their  less  extended  and  less  fluent 
successions  double  tone  connections,  i.  e.,  connections  in  the 
upper  and  lower  series  of  tones.  This  is  comparatively  easy 
in  thirds  and  fourths,  as  it  is  simply  the  act  of  retaining  one 
tone  until  the  next  is  produced,  with  perfectly  natural  rela 
tionships  of  the  fingers.  But  in  sixths  the  proper  extension 
of  the  fingers'  and  hand  usually  causes  some  difficulty,  and 
requires  especial  care,  as  regards  form  of  the  hand  and  con- 
nection of  tones. 

When  three  or  more  double  tones  are  used  in  succession, 
either  the  upper  or  lower  series  of  tones  must  lose  somewhat 
of  their  connectedness.  The  part  in  which  this  slight  dis- 
connection may  take  place,  should  be  determined  in  advance 
by  the  teacher  or  player.  Such  cases  occur,  of  course,  where 
the  thumb  or  any  finger  must  be  used  twice  in  succession. 

Scales  in  double  tones  may  be  fingered  as  in  Plaidy's 
Technical  Studies.  The  fingering  of  the  scale  of  C  given 
below  is,  however,  preferable  to  that  given  by  Plaidy. 

ELEMENTS  OF  MECHANISM. 
In  addition  to  some  elements  specified   in  simple  scale 
practice,  and  which   need  not  here  be  mentioned,  we  have 
the  following: — 

1.  Extension  and  contraction  of  fingers  and  hand. 

2.  (Exceptional.)  Premature  release  of  key  for  discon- 
nection. 

The  following  diagram  will  show  the  principles  of  the  best 
method  of  fingering,  and  the  points  where  the  premature  re- 
lease of  the  key,  and  the  consequent  disconnection  occurs:  — 


PlSiP^*S^ 


■54  OITTLTXE  OF  TECHNTQITE. 

In  the  descending  passage  all  the  disconnections  occur  in 
the  upper  series  of  tones. 

1  he  scales  may  also  be  practiced  demi-legato,  demi- 
staccato,  and  staccato,  with  the  action  of  the  hand.  In  the 
two  former  cases  the  downward  motion  is  principal,  the 
upward  motion  is  incidental.  In  the  latter  they  are  reversed. 
(See  pages  40,  41.) 

TRILLS. 

A  good  school  for  the  trill  may  be  formed  found  in 
Lebert  and.  Stark's  Piano  Method,  Part  III.  This  is  an  ex- 
cellent method,  and  indeed  almost  the  only  one  worthy  of 
general  use. 

The  element  of  pressure  or  weight  in  the  touch  required 
in  the  trill,  is  reduced  to  a  minimum  when  rapidity  is 
demanded. 

Until  the  trill  is  perfectly  understood,  and  has  also  been 
many  times  perfectly  performed,  it  should  be  practiced  only 
fro?n  explicitly  written  groups  of  notes,  in  order  that  no  habit 
of  indefiniteness  in  performance  shall  be  contracted.  All 
trills  should  be  practiced  with  a  definite  number  of  notes  for 
each  count  or  fraction  of  a  count,  until  fluency  is  attained. 
The  nmnber  of  tones  for  each  count  should  be  prescribed  by 
the  teacher  or  decided  on  by  the  student,  before  beginning 
the  practice.  Groups  of  two,  four,  or  six  should  be  played  to 
each  count,  according  as  the  counts  are  short  or  long.  The 
practice  should  be  slow  for  the  first  ten  repetitions,  and  may  be 
increased  in  quickness,  by  using  more  tones,  playing  groups 
of  four,  six,  or  eight,  instead  of  two,  four,  or  six. 

The  teemination  of  the  trill  should  be  in  strictly  diatonic 
or  chromatic  conjunct  successions  of  tones.  All  disjunct  suc- 
cessions {t.  e.j  successions  by  skips)  should  be  avoided. 

The  treminal  group  of  tones  should  conform  to  the  me- 
lodic connection,  and  will  consist  sometimes  of  four  and  some- 
times of  five  tones.  In  both  cases  perfect  evenness  in  succession, 


OUTLIXE  OF  TECHNIQUE.  55 

equality  and  in  tone  are  essential.     The  triplet  terminal  group, 
though  used  by  some  composers,  is  usually  inelegant. 

Facility  in  playing  the  trill  may  be  developed  in  the  use 
of  a  very  slow  movement  with  great  impulsiveness  of  each 
motion,  a  minimum  pressure,  and  perfect  quietness  of  hand. 
All  the  principles  specified  in  ''Two-Not^  Exercises"  must 
here  receive  their  most  precise  application. 

APPLICATION  OF   LAWS   OF  MECHANISM  IN  ETUDES  AND 
OTHER   COMPOSITIONS. 

In  the  practice  of  etudes  and  pieces  of  every  description, 
the  details  of  mechanism,  including  the  fingerings,  the  finger 
locations,  and  transfers,  the  positions,  the  tensions,  the 
motions,  the  applications  of  force,  and  all  other  items,  should 
each  receive  separate  and  careful  attention,  and  each  be 
thoroughly  practiced. 

In  finishing  a  piece  or  etude,  and  while  devoting  one's 
attention  to  the  interpretation  (the  tone,  accent,  phrasing, 
contrast,  shading,  movement,  form,  design,  etc.),  the  atten- 
tion to  mechanism  should  be  subordinated  to  these  other 
matters.  Practice  for  uniting  a  technical  with  a  musical 
element  is,  however,  indispensable.  It  may  very  safely  be 
subordinated,  for  with  the  thorough  practice  of  Technique 
which  precedes  the  study  of  interpretation,  the  nerves,  mus- 
cles, and  members  have  attained  a  power  of  automatic  action, 
and  employ  their  correct  forces,  relationships,  and  motions 
from  a  power  of  habit,  or  from  an  acquired  sense  of  fitness 
and  convenience. 

In  inspired  interpretation  the  thought  of  Technique  no 
longer  exists.  The  science  of  mechanism  has  served  its  pur- 
pose, and  has  been  annihilated.  • 

THE  TECHNIQUE  OF  LOCATIONS  AND  TRANSFERS. 

The  study  of  Locations  and  Transfers  is  of  very  great  im- 
portance in  connecting  the  elements  of  Technique  with 
practical  performance.      Without  this  study,  confusion  often 


66  OUTLINE  OF  TECHNIQUE. 

arises  in  regard  to  the  order,  and  also  in  regard  to  the  kinds 
of  motions  which  are  necessary. 

Locations  are  given  places  on  the  key-board  to  which  the 
fingers  are  applied.  For  example,  the  thumb  of  the  right 
hand  may  be  placed  on  c  and  other  fingers  on  each  succeed- 
ing white  key  in*  natural  relationship.  This  is  a  five-key 
location,  i.  e.,  a  placing  of  the  fingers,  which  covers  five  keys 
of  the  scale  of  C. 

Another  example:  The  thumb  of  the  right  hand  may  be 
placed  on  c,  the  second  finger  on  e  and  other  fingers  follow- 
ing on  succeeding  white  keys  in  natural  relationship.  This 
is  a  six-key  location,  /.  <?.,  a  placing  of  the  fingers,  which 
covers  six  keys  of  the  scale  of  C. 

Another  example:  The  thumb  of  the  right  hand  may  be 
placed  on  d^,  the  second  finger  on  g^,  the  third  on  a^,  the 
fourth  on  d,  and  the  fifth  on  c^.  This  is  a  seven-key  location, 
as  the  fingers  then  cover  seven  keys  of  the  scale  of  g^  minor. 

Locations  may  be  thus  classified  : — 

1.  Locations  in  natural  relationship  of  fingers. 

2.  Locations  in  contracted  relationship  of  fingers. 

3.  Locations  in  extended  relationship  of  fingers. 

4.  Locations  in  inverted  relationship  of  fingers. 
They  may  also  be  classified  as: — 

1.  Locations  of  white  keys. 

2.  Locations  of  black  keys. 

3.  Locations  of  partly  white  and  partly  black  keys. 
Locations  on  white  keys  are  of  course  on  a  lower  level 

than  those  of  black  keys.  The  fingers,  hand  and  arm,  all, 
must  therefore  be  at  a  slightly  greater  height  on  black  keys 
than  on  white.  This  difference  will  b6  merely  a  difference 
of  height  between  black  and  white  keys. 

When  the  fingers  are  all  on  the  same  level,  the  finger 
action  is  uniformly  the  same  in  amount  in  taking  all  keys. 
When,  however,  the  fingers  are  partly  on  white  and  partly  on 


OUTLINE  OF  TECHN'TqUE.  57 

black  keys,  a  little  confusion  of  mind  often  arises  concerning 
the  equality  of  motion.  Each  finger  should  rise  an  equal 
distance  from  each  key,  whether  it  be  white  or  black.  For 
example,  if  a  finger  rises  half  an  inch  from  a  white  key  it 
should  also  rise  half  an  inch  from  a  black.  This  refers  to  the 
preparatory  upward  motion  in  elementary  practice.  Different 
parts  of  the  hand  itself  should  also  conform  to  the  different 
heights  of  the  key  levels.  This  last  requirement  may  be  a 
difficult  one,  and  perhaps  in  some  cases  impracticable,  if  the 
nand  is  not  quite  supple. 

«      TRANSFERS. 

Transfers  are  lateral  or  sidewise  motions  from  one  loca- 
tion to  another. 

They  are  thus  classified:  — 

1.  Transfers  of  fingers. 

2.  Transfers  of  fingers  and  hand. 

3.  Transfers  of  fingers,  hand  and  arm. 

The  second  is  used  rather  infrequently.  The  third  kind 
is  to  be  used  most  of  all.  Some  lateral  motion  of  the  upper 
arm  as  well  as  of  the  fore-arm  is  necessary  in  all  passage- 
playing  and  in  certain  kinds  of  figure-playing. 

Transfers  are  also  classified  as: — 

1.  Partial. 

2.  Partially  complete,  and — 

3.  Complete. 

They  B.rQ.  partial  ^y\\Qn  a  part  of  the  fingers  move  to  dif- 
ferent keys  while  some  of  them  retain  their  keys  without 
moving  away  from  them. 

EXAMPLE. 


Partial  Transfer, 


58  OUTLINE  OF  TECHNIQUE. 

They  zx^  partially  complete  transfers,  when  all  the  fingers 
are  carried  to  different  keys  from  those  which  they  were  indi- 
vidually using,  but  some  of  the  keys  are  still  retained  although 
by  different  fingers. 

EXAMPLE. 

I  2d    Location. 


Partially  Complete  Transfer. 


They  are  complete  when  all  fingers  are  moved  to  entirely 
different  keys,  none  of  those  preceding  being  retained. 
They  may  be  either  connected  or  disconnected. 


EXAMPLES. 


fe^lE^JJ^^El^ 


Complete  Connected  Transfer.  Complete  Disconnected  Transfer. 

It  will  be  observed  that  the  partial  and  partially  complete 
transfers  are  made  by,  first,  a  transfer  of  one  finger  (the 
thumb  in  the  above  examples),  and  then  of  the  remaining 
fingers,  and  in  many  cases  of  the  fore-arm  or  whole  arm. 

In  the  example  of  the  partial  transfer,  the  first  finger 
(thumb)  only  is  moved  in  the  beginning  of  the  change,  and 
immediately  afterward  the  second  moves  to  its  new  location. 

In  the  example  of  the  partially  complete  transfer,  the 
thumb  moves  first,  then  afterward  the  remaining  fingers  are 
moved  to  their  respective  places.  This  is  the  manner  of 
transfers  to  be  adopted  in  Plaidy's  and  Tausig's  moving 
figures.  The  hand  and  fore-arm  both  participate  in  the 
second  part  of  the  change,  and  the  upper  arm  also  if  follow- 
ing groups  continue  to  ascend  or  descend. 

In  the  example  of  the  complete  connected  transfer,  when 
the    thumb  reaches  down  to  e^  the  hand,  arm  and  all  the 


OUTLINE  OF  TFA'HNKiUE. 


59 


fingers  except  the  fifth  sliould  move  toward  the  body  for  the 
first  part  of  the  change,  the  second,  third  and  fourth  fingers 
moving  only  a  part  of  the  distance  toward  their  new  location 
and  partially  straightening  themselves.  After  the  thumb  has 
taken  its  key,  and  while  still  holding  it,  all  the  fingers,  in- 
cluding the  fifth,  are  moved  to  their  new  places,  and  the  new 
location  is  then  entirely  assumed. 

In  the  following  figures  unemployed  fingers  must  have 
definite  places,  and  the  locations  are  locations  of  five  keys 
although  in  each  case  a  smaller  number  of  keys  is  used. 


It  is  only  with  inverted  relationship  of  fingers  that  a  four 
or  three  key  location  is  possible. 

EXAMPLES. 
Three  Key  Location.  Four  Key  Location. 


It  will  be  observed  that  these  narrow  limits  are  reached 
by  contraction,  as  six  or  seven  key  locations  are  reached  by 
extension. 

The  study  of  Locations  and  Transfers  in  connection  with 
the  practice  of  Etudes  is  of  great  importance. 


no 


orTLTNE  OF  TEQITNTQJTE. 


FINGERING  OF  MAJOR  SCALES. 

Scale  Names. 

C,G,D,A, 
&  E. 

R.  H.— I,  2,  3,  I,  2,  3,  4,  I,  2j  3,  I,  2,  3,  4,  5. 
L.  H  — 5,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3,  2/  I. 

B  &  Q>. 

R.  H.  — I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  5. 
L.  H.— 4,  3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I. 

C#  &  Db. 

R.  H.— 2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2. 
L.  H.— 3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  2, 

Ab. 

R.  H.— 2,  3,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3. 
L.  H.— 3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  2. 

Eb. 

R.  H.— 2,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3. 
L.  H.— 3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  2. 

Gb  &  F#. 

R.  H.— 2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  4,  5. 
L.  H.— 4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  2. 

F. 

R.  H.— I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  4. 
L.  H.— 5,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3,  2,  I. 

Bb. 

R.  H.— 2,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4. 
L.  H.— 3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3. 

OUTLINE  OF  TECHNIQUE. 


61 


FINGERING  OF  MINOR  SCALES,  ASCENDING.* 


Scale  Names. 

A,  E,  C,  G, 
&  D. 

E.  H.— I, 
L.  H.-5, 

2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  5. 
4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3,  2,  I. 

B. 

R.  H.— I, 
L.  H.-4, 

2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  5. 
4.  2,  I,  4,  3,  2,  I,  3,  2,  I,  4,  3,  2,  I. 

F*f. 

R.  H.— 2, 
L.  H.-4, 

R.  H.- 

3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  3. 
3,  2,  I,  3,  2,  I,  4,  3,  2,  I,  3,  2,  I,  2. 

DESCENDING. 

-2,    I,    3,    2,    I,   4,    3,    2,    I,   3,    2,    I,   3. 

C*f. 

R.  H.— 2, 
L.  H.-3, 

R.  H.- 

3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  3. 
2,    I,    4,    3,    2,    I,   3,    2,    I,    4,   3,    2,    I,    2. 

DESCENDING. 

-2,    I,    3,    2,    1,   4,   3,    2,    I,    3,    2,    I,    3. 

Gtf  &  Ab. 

R.  H.-3, 
L.  H.-3, 

4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3. 
2,    I,    4,    3,    2,    I,    3,    2,    I,    4,    3,    2,    I,    2. 

Dtf  &  Eb. 

R.  H.— 2, 
L.  H.— 2. 

I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3. 
Ij    4,    3'    2,    I,   3,    2,    I,   4,   3,    2,    I,   3,    2. 

Atf  &  Bb. 

R.  H.— 2, 
L.  H.— 2, 

I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  I,  2,  3,  4. 
I,    4,    3,    2,    I,    3,    2,    I,    4,   3,    2,    I,   3,    2. 

F. 

R.  H.— I, 
L.  H.-5, 

2,  3,  4,  I,  2,  3,  I,  2,  3,  4,  I,  2,  3,  4. 
4,    3,    2,    I,   3,    2,    I,   4,   3,    2,    I,   3,    2,    I. 

*De8cending,  the  fingering  is  the  same,  except  where  marked  differently 


62 


OUTLINE  OF  TECHNIQUE. 


FINGERING  OF  THE  MAJOR  ARPEGGIOS. 

KEYS    C,    G,    &    F. 

RIGHT  HAND.           S^J^-Jf,,! 

LEFT  HAND.              ^T^^^. 

ist  Form. — i,  2,  3,  i,  2 5 

ist  Form. — 5,  4,  2,  i,  4 i 

2d        ''         I,  2,  4,  I,  2 5 

2d        "         5,  4,  2,  1,4 1 

3d        ''         I,  2,  4,  1,2 5 

3d        "         5'  3'  2,  I,  3 1 

KEYS    D,    A,    &    E. 

ist  Form. — i,  2,  3,  i,  2 5 

ist  Form. — 5,  3,  2,  1,3 i 

2d           '^              2,    I,   2,  4,  I 4 

2d        "         3,  2,  I,  3,  2 3 

3d           ''             I,   2,   4,  1,2 5 

3d        ''         5,  3,2,  I,  3_--.  I 

KEYS    B    &    Cb. 

ist  Form. — i,  2,  3,  i,  2 5 

ist  Form. — 5,  3,  2,  1,3 i 

2d        '*         2,  3,  I,  2,3 2 

2d        ''         3,  2,  I,  3,  2 I 

4d        "         2,  I,  2,3,  I 3 

3d        "         2,  I,  3,  2,  I 2 

KEYS    FJI    &    Gb. 

ist  Form. — i,  2,  3,  i,  2 5 

ist  Form.— 5,  3,  2,  i,  3 i 

2d        /          I,  2,  3,  I,  2 5 

2d        "         5,  4,  2,  1,4 I 

3d        "          1,2,4,1,2 5 

3d        "         5' 3'  2,  I,  3 1 

KEYS    cU,    Db,    At,,    &    Eb. 

ist  Form. — 2,  i,  2,  3,  i 3 

ist  Form. — 2,  i,  4,  2,  i 2 

2d        ''         I,  2,  3,  I,  2 5 

2d        ''         5,  4,  2,  I,  4 1 

3d        "         2,  3,  I,  2,  3 2 

3d        ''         4,  2,  1,4,  2 1 

KEY    OF    Bb. 

ist  Form. — 2,  i,  2,  3,  i 3 

ist  Form. — 3,  2,  i,  3 2 

2(1            "              1,2,3,1,2 5 

2d        "         5,  4»  2,  1,4 I 

3d           «              I,    2,   4,  I,  2 5 

3d        "         5'  3'  2,  1,3 I 

OUTLINE  OF  TECENiqUE. 


63 


FINGERING  OF  THE  MINOR  ARPEGGIOS. 


KEYS    A, 

E,    &    D. 

RIGHT  HAND. 

Fingering  of 
highest  note. 

LEFT 

HAND. 

Fingering  of 
highest  note. 

I  St  Form. 

— I, 

2,  3. 

I,    2--.5 

ist  Form. 

— 5j 

4, 

2, 

I, 

4-- -I 

2d 

I, 

2,  4, 

I,    2. .-5 

2d 

5> 

4, 

2, 

I, 

4---I 

3d     " 

I, 

2,  4, 

I,    2. ..5 

3d 

5. 

3. 

2, 

I, 

3---I 

KEY    B. 

I  St  Form. 

— I, 

2.   3. 

I,    2. .-5 

I  St  Form. 

—5. 

4, 

2, 

I, 

4.- -I 

2d        " 

I, 

2,  4, 

I,    2. --5 

2d        " 

5. 

3. 

2, 

I, 

3.--I 

3d        '' 

2, 

I,    2, 

3>  I---3 

3d        '' 

3. 

2j 

I, 

3. 

2 I 

KEYS    FiJ,    CJI,    gS,    &    Ab. 

I  St  Form. 

— 2, 

I,    2, 

4,  I. --4 

ist  Form. 

—2, 

I, 

3. 

2, 

I--. 2 

2d 

I, 

2,  4, 

I,  2-. .5 

2d        '' 

5. 

3> 

2, 

I, 

3.--1 

3d        '' 

2j 

4,  I, 

2,  4. -.2 

3d        '' 

3> 

2j 

I, 

3. 

2 2 

KEYS    Dt    &    Eb. 

I  St  Form. 

1, 

2,  3. 

I,    2. ..5 

ist  Form. 

—5. 

4, 

2j 

I, 

4---I 

2d        « 

I, 

2,  4, 

I,    2. ..5 

2d        " 

5. 

3^ 

2j 

I, 

3---I 

3d        '' 

I, 

2.  3; 

I,    2. ..5 

3d        '< 

5. 

3> 

2, 

I, 

3---1 

KEYS    k\    &    Bb. 

I  St  Form. 

2, 

3.  i> 

2,    3---2 

ist  Form. 

—3. 

2j 

I, 

3. 

2--. 2 

2d         '' 

2, 

I,  2, 

3,  i-.-i 

2d        '' 

2, 

I, 

3> 

2, 

I 2 

3d        " 

I, 

2.  3. 

I,  2-. -5 

3d 

5. 

3» 

2, 

I, 

3---I 

KEYS    F,    C,    &    G. 

I  St  Form. 

1, 

2,  3. 

I,    2-. -5 

ist  Form. 

—5. 

4, 

2, 

I. 

4.--1 

2d        " 

2, 

I,  2, 

3.  I---3 

2d         '^ 

4, 

2, 

I, 

4, 

2  —  2 

3d        '' 

I, 

2,  3. 

I,    2. ..3 

3d        '^ 

5. 

3. 

2j 

I, 

3---I 

/r^ 


l!Mi 


-1 


j^^m 


v'r 


^ 


^'-iia*:;^*©  •ifi^z't^x^ 


